Such a state of things may be excusable from a humane point of view; it arose from the older methods of instrumentation, where the role of the viola consisted for the most part in filling up the accompaniments; and it has since found some sort of justification in the meagre method of instrumentation adopted by the composers of Italian operas, whose works constitute an important element in the repertoire of the German opera theatres.

At the various court theatres, Italian operas have always found favour with the Directors.  From this it follows as a matter of course, that works which are not in the good grace of those gentlemen stand a poor chance, unless it should so happen that the conductor is a man of weight and influence who knows the real requirements of a modern orchestra.  But our older Capellmeisters rarely knew as much—­they did not choose to recognize the need of a large increase in the number of stringed instruments to balance the augmented number of wind instruments and the complicated uses the latter are now put to.

In this respect the attempts at reform were always insufficient; and our celebrated German orchestras remained far behind those of France in the power and capacity of the violins, and particularly of the violoncellos.

Now, had the conductors of a later generation been men of authority like their predecessors, they might easily have mended matters; but the Directors of court theatres took good care to engage none but demure and subservient persons.

It is well worth while to note how the conductors, who are now at the head of German music, arrived at the honourable positions they hold.

We owe our permanent orchestras to the various theatres, particularly the court theatres, small and great.  The managers of these theatres are therefore in a position to select the men who are to represent the spirit and dignity of German music.  Perhaps those who have been thus advanced to posts of honour, are themselves cognizant of how they got there—­to an unpractised observer it is rather difficult to discern their particular merits.  The so-called “good berths” are reached step by step:  men move on and push upwards.  I believe the Court orchestra at Berlin has got the majority of its conductors in this way.  Now and then, however, things come to pass in a more erratic manner; grand personages, hitherto unknown, suddenly begin to flourish under the protection of the lady in waiting to some princess, etc. etc.—­It is impossible to estimate the harm done to our leading orchestras and opera theatres by such nonentities.  Devoid of real merit they keep their posts by abject cringing to the chief court official, and by polite submission to the indolence of their musical subordinates.  Relinquishing the pretence of artistic discipline, which they are unable to enforce, they are always ready to give way, or to obey any absurd orders from headquarters; and such conductors, under favourable circumstances, have even been known to become popular favourites!