bring besides all needful knowledge a
fulness of love into his work. "Where sympathy is lacking, correct
judgment is also lacking," said Mendelssohn. The critic should be the
mediator between the musician and the public. For all new works he
should do what the symphonists of the Liszt school attempt to do by
means of programmes; he should excite curiosity, arouse interest, and
pave the way to popular comprehension. But for the old he should not
fail to encourage reverence and admiration. To do both these things he
must know his duty to the past, the present, and the future, and
adjust each duty to the other. Such adjustment is only possible if he
knows the music of the past and present, and is quick to perceive the
bent and outcome of novel strivings. He should be catholic in taste,
outspoken in judgment, unalterable in allegiance to his ideals,
unswervable in integrity.

PLATES

[Illustration: PLATE I

VIOLIN--(CLIFFORD SCHMIDT)]

[Illustration: PLATE II

VIOLONCELLO--(VICTOR HERBERT)]

[Illustration: PLATE III

PICCOLO FLUTE--(C. KURTH, JUN.)]

[Illustration: PLATE IV

OBOE--(JOSEPH ELLER)]

[Illustration: PLATE V

ENGLISH HORN--(JOSEPH ELLER)]

[Illustration: PLATE VI

BASSOON--(FEDOR BERNHARDI)]

[Illustration: PLATE VII

CLARINET--(HENRY KAISER)]

[Illustration: PLATE VIII

BASS CLARINET--(HENRY KAISER)]

[Illustration: PLATE IX

FRENCH HORN--(CARL PIEPER)]

[Illustration: PLATE X

TROMBONE--(J. PFEIFFENSCHNEIDER)]

[Illustration: PLATE XI

BASS TUBA--(ANTON REITER)]

[Illustration: PLATE XII

THE CONDUCTOR'S SCORE]

INDEX

Absolute music, 36

Academy of Music, New York, 203

Adagio, in symphony, 133

Addison, 205, 206, 208

Allegro, in symphony, 132

Allemande, 173, 174

Alto clarinet, 104

Alto, male, 260

Amadeo, 241

Ambros, August Wilhelm, 49

Antiphony, 267

Archilochus, 213

Aria, 235

Arioso, 235

Asaph, 115

Bach, C.P.E., 180, 185

Bach, Johann Sebastian, 69, 83, 148, 167, 169, 170, 171, 174, 176,
180, 181, 184, 192, 257, 259, 267, 268, 278, 281, 282, 283, 286,
287, 289;
his music, 281 _et seq._;
his technique as player, 180, 181, 184;
his choirs, 257, 259;
compared with Palestrina, 278;
"Magnificat," 283;
Mass in B minor, 283;
Chromatic Fantasia and Fugue, 171;
Suites, 174, 176;
"St. Matthew Passion," 267, 278, 282, 286, 289;
Motet, "Sing ye to the Lord," 268;
"St. John Passion," 286

_Ba