One thing however is wanting to these gentlemen, without which they cannot be expected to achieve the needful reconstruction of the orchestras, nor to enforce the needful reforms in the institutions connected with them, viz., energy, self-confidence, and personal power.  In their case, unfortunately, reputation, talent, culture, even faith, love and hope, are artificial.  Each of them was, and is, so busy with his personal affairs, and the difficulty of maintaining his artificial position, that he cannot occupy himself with measures of general import—­measures which might bring about a connected and consistent new order of things.  As a matter of fact, such an order of things cannot, and does not concern the fraternity at all.  They came to occupy the position of those old fashioned German masters, because the power of the latter had deteriorated and because they had shewn themselves incapable to meet the wants of a new style; and it would appear that they, in their turn, regard their position of to-day as merely temporary—­filling a gap in a period of transition.  In the face of the new ideals of German art, towards which all that is noble in the nation begins to turn, they are evidently at a loss, since these ideals are alien to their nature.  In the presence of certain technical difficulties inseparable from modern music they have recourse to singular expedients.  Meyerbeer, for instance, was very circumspect; in Paris he engaged a new flutist and paid him out of his own pocket to play a particular bit nicely.  Fully aware of the value of finished execution, rich and independent, Meyerbeer might have been of great service to the Berlin orchestra when the King of Prussia appointed him “General Musikdirector.”  Mendelssohn was called upon to undertake a similar mission about the same time; and, assuredly, Mendelssohn was the possessor of the most extraordinary gifts and attainments.  Both men, doubtless, encountered all the difficulties which had hitherto blocked the way towards improvements; but they were called upon to overcome these very difficulties, and their independent position and great attainments rendered them exceptionally competent to do so.  Why then did their powers desert them?  It would seem as if they had no real power.  They left matters to take care of themselves and, now, we are confronted by the “celebrated” Berlin orchestra in which the last trace of the traditions of Spontini’s strict discipline have faded away.  Thus fared Meyerbeer and Mendelssohn whilst at Berlin:  what are we to expect elsewhere from their neat little shadows?

It is clear from this account of the survivals of the earlier and of the latest species of Capellmeisters and Musikdirectors, that neither of them are likely to do much towards the reorganization of our orchestras.  On the other hand the initiative has been taken by the orchestral performers themselves; and the signs of progress are evidently owing to the increasing development of their technical attainments.  Virtuosi upon the different orchestral instruments have done excellent service, and they might have done much more in the circumstances had the conductors been competent.