t
he made his rounds as slowly as possible in order to put me out only as
a last resort. Fortunately for me, Marcelin de Fresne gave me a place in
his box, which I was permitted to occupy for several years.

I used to read and study the symphonies before I heard them and I saw
grave defects in the Societe's vaunted execution. No one would stand
them now, but then they passed unnoticed. I was naive and lacked
discretion, and so I often pointed out these defects. It can be easily
imagined what vials of wrath were poured on me.

As far as the public was concerned, the great success of these concerts
was due to the incomparable charm of the depth of tone, which was
attributed to the hall. The members of the Societe believed this, too,
and they would let no other orchestra be heard there. This state of
affairs lasted until Anton Rubinstein got permission from the Minister
of Fine Arts to give a concert there, accompanied by the Colonne
orchestra. The Societe fretted and fumed at this and threatened to give
up its series of concerts. But the Societe was overruled and the concert
was given. To the general surprise it was seen that another orchestra in
the same hall produced an entirely different effect. The depth of tone
which had been appreciated so highly, it was found, was due to the
famous Societe itself, to the character of the instruments and the
execution.

Nevertheless, the hall is excellent, although it is no longer adequate
for the presentation of modern compositions. But it is a marvellous
place for the numerous concerts given by virtuosi, both singers and
instrumentalists, accompanied by an orchestra, and for chamber music.
Finally, the hall where France was introduced to the masterpieces of
Haydn, Mozart and Beethoven, whose influence has been so profound, is a
historic place.

Numerous improvements in the administration of the Conservatoire have
been introduced during the last few years. On the other hand, old and
honored customs have disappeared and we can but regret their loss. From
Auber's time on there was a _pension_ connected with the Conservatoire.
Here the young singers who came from the provinces at eighteen found
board and lodging, a regular life, and a protection from the temptations
of a large city, so dangerous to fresh young voices. Bouhy, Lassalle,
Capoul, Gailhard and many others who have made the French stage famous
came from this _pension_.

We also used to have dramatic recitals which wer