power--that fatal power and "effect" against which the professors
of the Leipsic conservatorium so earnestly warn their pupils, and
against which all sorts of destructive tactics are applied in
vain! Having made up my mind, not to assist personally at any
future performance like the recent ones of "Die Meistersinger" at
Dresden, I am content to accept the "success" of the work as a
consolatory example illustrating the fate of our classical music
in the hands of our conducting musicians. Classical music retains
its warmth, and continues to exist in spite of the maltreatment
they subject it to. It appears truly indestructible: and the
Spirit of German art may accept this indestructibility as a
consoling fact, and may fearlessly continue its efforts in
future. It might be asked: But what do the queer conductors with
celebrated names amount to, considered simply as practical
musicians? Looking at their perfect unanimity in every practical
matter one might be led to think that, after all, they understand
their business properly, and that, in spite of the protest of
one's feelings, their ways might even be "classical." The general
public is so ready to take the excellence of their doings for
granted, and to accept it as a matter of course, that the middle-
class musical people are not troubled with the slightest doubt as
to who is to beat time at their musical festivals, or on any
other great occasion when the nation desires to hear some music.
No one but Herr Hiller, Herr Rietz, or Herr Lachner is thought
fit for this. It would be simply impossible to celebrate the
hundredth anniversary of Beethoven's birth if these three
gentlemen should happen suddenly to sprain their wrists. On the
other hand, I am sorry to say I know of no one to whom I would
confidently entrust a single tempo in one of my operas; certainly
to no member of the staff of our army of time-beaters. Now and