always refused to play the piano in my presence, but I had seen
his setting of an alliterative poem of his own, Die Walkure,
which, though rather awkwardly put together, struck me by its
precise and skilful compliance with the rules of composition.

He proved himself to be the worthy pupil of his master, Robert
Schumann, who, long before, had told me that Karl possessed great
musical gifts, and that he could not remember ever having had any
other pupil endowed with such a keen ear and such a ready
facility for assimilation. Consequently I had no reason to
discourage the young man's confidence in his capacity for the
career of a musical director. As the winter season was
approaching, I asked the manager of the theatre for the address
of Herr Kramer, who was coming for the season, and learned that
he was still engaged at Winterthur.

Sulzer, who was always ready when help or advice was needed,
arranged for a meeting with Herr Kramer at a dinner at the
'Wilden Mann' in Winterthur. At this meeting it was decided, on
my recommendation, that Karl Ritter should be appointed musical
director at the theatre for the ensuing winter, starting from
October, and the remuneration he was to receive was really a very
fair one. As my protege was admittedly a beginner, I had to
guarantee his capacity by undertaking to perform his duties in
the event of any trouble arising at the theatre on the ground of
his inefficiency. Karl seemed delighted. As October drew near and
the opening of the theatre was announced to take place 'under
exceptional artistic auspices.' I thought it advisable to see
what Karl's views were.