of the higher art of musical phrasing, whereby Beethoven’s most obscure construction might be explained, and elaborated into a comprehensible system that would allow of further application.  These treatises attracted the attention of Franz Brendel, the astute publisher of the Neue Zeitschrift fur Musik, to their brilliant young author.  He was invited by Brendel to join the staff of his paper, and soon succeeded in changing his chief’s previous attitude of indecision.  As Brendel’s aims were on the whole perfectly honourable and serious, he was quickly and definitely led to adopt those views which from this time began to make a stir in the musical world under the title of the ‘New Tendency.’  I thereupon felt impelled to contribute an epoch-making article to his paper on these lines.  I had noticed for some time that such ill-sounding catch-phrases as ‘Jewish ornamental flourishes’ (Melismas), ‘Synagogue Music,’ and the like were being bandied about without any rhyme or reason beyond that of giving expression to meaningless irritation.  The question thus raised regarding the significance of the modern Jew in music stimulated me to make a closer examination of Jewish influence and the characteristics peculiar to it.  This I did in a lengthy treatise on ‘Judaism in Music.’  Although I did not wish to hide my identity, as its author, from all inquiries, yet I considered it advisable to adopt a pseudonym, lest my very seriously intended effort should be degraded to a purely personal matter, and its real importance be thereby vitiated.  The stir, nay, the genuine consternation, created by this article defies comparison with any other similar publication.  The unparalleled animosity with which, even up to the present day, I have been pursued by the entire press of Europe can only be understood by those who have taken an account of this article and of the dreadful commotion which it caused at the time of its publication.  It must also be remembered that almost all the newspapers of Europe are in the hands of Jews.  Apart from these facts, it would be impossible to understand the unqualified bitterness of this lasting persecution, which cannot be adequately explained on the mere ground of a theoretical or practical dislike for my opinions or artistic works.  The first outcome of the article was a storm which broke over poor Brendel, who was entirely innocent, and, indeed, hardly conscious of his offence.  This erelong developed into a savage persecution which aimed at nothing less than his ruin.  Another immediate result was that the few friends whom Liszt had induced to declare themselves in my favour forthwith took refuge in a discreet silence.  As it soon seemed advisable, in the interests of their own productions, to give direct evidence of their estrangement from me, most of them passed over to the ranks of my enemies.  But Uhlig clung to me all the more closely on this account.  He strengthened Brendel’s weaker will to endurance, and kept helping him with contributions for his paper, some