cultured and well-to-do man who belonged to a noble family, and
had joined the orchestra as a patron and as an amateur musician.
He played the clarionet with a soft and charming tone which was
somewhat lacking in spirit. I must also mention the worthy Herr
Bar, a cornet-player, whom I appointed leader of the brass
instruments, as be exercised a great influence on that part of
the orchestra. I cannot remember ever having heard the long,
powerful chords of the last movement of the C minor Symphony
executed with such intense power as by this player in Zurich, and
can only compare the recollection of it with the impressions I
had when, in my early Parisian days, the Conservatoire orchestra
performed Beethoven's Ninth Symphony.

Our production of the Symphony in C minor made a great impression
on the audience, especially on my intimate friend Sulzer, who had
previously kept aloof from any kind of music. He became so
incensed when an attack was made on me by a newspaper that he
answered the gratuitous critic in a satirical poem composed with
the skill of a Platen.

As I have already said, Bulow was invited in the course of the
winter to give a pianoforte recital at a concert at which I
promised to produce the Sinfonia Eroica.

With his usual audacity he chose Liszt's piano arrangement of the
Tannhauser Overture, a work as brilliant as it is difficult, and
therefore a somewhat hazardous undertaking. However, he caused
quite a sensation, and I myself was astounded at his execution.
Up to this time I had not paid it the attention it deserved, and
it inspired me with the greatest confidence in his future. I