ted.
In that case I used to say before the performance: 'It seems to me
that such-and-such a work has not been quite understood at the last
hearing; and as it is a really marvellous work, I am sure that your
feeling is that you do not know it sufficiently. So I have included
it in to-day's programme.'"[237]

[Footnote 237: The name, _La Trompette_, was also the pretext for
embellishing chamber-music, by introducing the trumpet among the other
instruments. To this end M. Saint-Saens wrote his fine septette for
piano, trumpet, two violins, viola, violoncello, and double bass; and M.
Vincent d'Indy his romantic suite in D for trumpet, two flutes, and
string instruments.]

These performances of sonatas, trios, and quartettes, were attentively
listened to by an audience of five or six hundred persons, the greater
part of them cultured people, students from the poly-technics and
universities, who formed the kernel of a very discerning and
enthusiastic public for chamber-music.

By degrees, following the example of Emile Lemoine, other quartette
societies were formed; and at present they are so numerous that it would
be difficult to name them all. And then there sprang up the same spirit
of intelligent curiosity that had induced the French _Kapellmeister_ of
the symphony concert societies sometimes to introduce their German and
Russian colleagues as conductors; and for this purpose the _Nouvelle
Societe Philharmonique de Paris_ was founded, in 1901, on the initiative
of Dr. Fraenkel and under the direction of M. Emmanuel Rey, to give a
hearing in Paris to the principal foreign quartette players. And the
profit was as great in one case as in the other; and the friendly
rivalry between French quartette players and those of other countries
bore good fruit, and gave us a fuller understanding of the inner
character of German music.

* * * * *

5. _Musical Learning and the University_

While this movement was going on in the artistic world, scholars were
taking their share in it, and music was beginning to invade the
University.

But the thing was brought about with some difficulty; for among these
serious people music did not count as a serious study. Music was thought
of as an agreeable art, a social accomplishment, and the idea of making
it the subject of scientific teaching must have been received with some
amusement. Even up to the present time, general historie