[Figure:  musical score example]

Now, this may have been very interesting, musically, but it compelled the poor singer of Tannhauser to relate his painful recollections of Rome to a gay and lively waltz-rhythm (which, again, reminds me of Lohengrin’s narrative about the Holy Grail, at Wiesbaden, where I heard it recited scherzando, as though it were about Queen Mab).  But as I was, in this case, dealing with so excellent a representative of Tannhauser as Ludwig Schnorr, [Footnote:  Ludwig Schnorr von Carolsfeld, the first “Tristan” died 1865.] I was bound to establish the right tempo, and, for once, respectfully to interfere.  This, I am sorry to say, caused some scandal and annoyance.  I fear in course of time, it even caused some little martyrdom, and inspired a cold-blooded Gospel-critic [Footnote:  David Strauss, author of “Das Leben Jesu.”] to celebrate and console the veteran-martyr in a couple of sonnets.  Indeed, we have now got sundry “martyrs of classical music” crowned with a halo of poetry.  I shall beg leave to examine them still more closely in the sequel.

It has repeatedly been pointed out that our conductors dislike attempts at modification of tempo, for the sake of perspicuity in the rendering of Beethoven and other classical music.  I have shewn that plausible objections can be urged against such modifications, so long as they are not accompanied by corresponding modifications of tone and expression; and I have further shewn that such objections have no foundation other than the incompetence of conductors, who attempt to perform functions for which they are not fit.  In fact, there is but one valid objection which can be urged against the mode of procedure I advocate, namely this:  nothing can be more detrimental to a piece of music than arbitrary nuances of tempo, etc., such as are likely to be introduced by this or that self-willed and conceited time-beater, for the sake of what he may deem “effective.”  In that way, certainly, the very existence of our classical music might, in course of time, be undermined.  Now, what is to be said or done in the face of so sad a state of things?  A sound public opinion with regard to questions of art does not exist in Germany; and there is nothing amongst us that could effectually put a stop to such vagaries.  Thus, the above objection, valid as it is (though seldom put forward in good faith), again points towards the conductors; for, if incompetent persons are not to be permitted to maltreat classical music at their pleasure, how is it that the best and most influential musicians have not taken this matter in hand? why have they themselves led classical music into such a groove of triviality and actual disfigurement?  In many instances the objection in question is merely put forward as a pretext for opposition to all efforts in the direction I have indicated.  Indolent and incompetent persons form an immense majority:  and, under certain circumstances, incompetency and sluggishness unite, and grow aggressive.