flourish with a nervous system of the commonest kind.

If then our celebrated and uncelebrated conductors happen to be
born for music only under the sign of Numbers (im Zeichen der
Zahl), it would seem very desirable that some new school might be
able to teach them the proper tempo for our music by the rule of
three. I doubt whether they will ever acquire it in the simple
way of musical feeling; wherefore, I believe, I have now reached
the end of my task.

Perhaps the new school is already in sight. I understand that a
"High-School of Music" has been established at Berlin, under the
auspices of the Royal Academy of Arts and Sciences, and that the
directorship of the school has been entrusted to the celebrated
violinist, Herr Joachim. To start such a school without Herr
Joachim, if his services are available, would be a great mistake.
I am inclined to hope for much from him; because everything I
know and have heard concerning his method of playing proves that
this virtuoso is a complete master of the style of execution I
demand for our classical music. By the side of Liszt and his
disciples he is the only living musician to whom I can point as a
practical proof and example in support of the foregoing
assertions. It is immaterial whether or not Herr Joachim likes to
see his name mentioned in such connection; for, with regard to
that which a man can do and actually does, it matters little what
he chooses to profess. If Herr Joachim thinks it expedient to
profess that he has developed his fine style in the company of
Herr Hiller, or of R. Schumann, this may rest upon its merits,
provided he always plays in such wise that one may recognise the
good results of several years intimate intercourse with Liszt. I