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296 couraged? Partly, I think, it must be acquiesced in. It is unreasonable to expect that amateurs who can appreciate the best music, and know when it is adequately played, should offer a rendering of it which they know to be distinctly below the standard of the best judges among their hearers. A sensitiveness of this kind to the feeling of the initiated is a part of the worship of ideals which binds men and women to- gether in an artistic brotherhood, and it is not desirable that it should be blunted. But, on the other hand, it must not be allowed to become morbid. It would be absurd that an audience, almost all of whom could listen with pleasure and profit to the performance of an amateur pianist, should lose the opportunity because one or two people present might find fault with details of execution. If the player has faith in his interpreta- tions, and his technique is on the whole equal to the difficulties he attempts, he must not be deterred by an over-scrupulous modesty from filling the worthy place which belongs to him in the development of musical culture. Drawing-room playing, in its highest form, is a most valuable supplement to the more occasional performances in the concert-room. The opportunities of hearing professional pianists of distinguished rank are not yet so frequent that lovers of music would willingly rely entirely on them, and amateur players who possess genuine musical feeling and intelligence wfll always be gladly listened to. Those of their audience who are nearest their own level of attainment are the most likely to be interested, and a fellow-feeling will make them tolerant of short- comings ; whereas, among those who are on the lower levels of cultivation, there is a boundless field of in- fluence. There are scarcely any who keep up the practice of the piano at all who could not find in their circle of friends many people to whom their playing would be not only a pleasure, but a means of culture. With children alone there is no limit to what can be done in the way of stimulating their interest in music and directing their taste ; and this is work which no one will think unworthy who has in him the true enthusiasm for art. Let the amatem-, therefore, take heart ! He is not (loomed to the vicious alternative of forsaking his ideals or withdrawing from the world. No change in the conditions of musical culture can ever shut him out from a sure and worthy influence on the progress of the art he loves. James Olh^hant.

HE Riedel Verein gave its first concert after the death of its founder and guider in St. Peter's Church, a room that, regarding the acoustics, leaves many wishes unfulfilled. The concert was in commemoration of the deceased conductor, and the chief work it brought out was the Deutsches Requiem, by Johannes Brahms. There were besides a worthily conceived I'rauermarsch by Dr. W. Slade, and a Cantata by Bach. It must be acknowledged that the Verein has made progress under the present conductor. Prof. Dr. Hermann Kretzschmar, and was especially remai'kable in the DeutscJies Requiem. We^only object to the too often emploj'ed Icmpu rubalo, that is not in the right place in a choir-work of such poly- phony. The soloists did not throughout reach the height of their task, whilst the orchestra merited every praise. Less happy was the execution of the cantata by Bach.

The evenings for chamber music took also their regular course. We had the second soiree of the quartett Brodsky under co-operation of Frau Margarette Stern from Dresden, and heard a novelty, that brought almost too much of piquantry, extravagancy, and absurdity. It was a string-quartetto by Peter Tschaikowsky, one of the most talented of the young Russian school. Still it was interesting enough to get acquainted with this novelty, though we must avow we have no longing to hear it repeatedly. The execution of this quartetto, as well as of the one that concluded the evening. Op. 59, No. 3, in C major, by Beethoven, was throughout satisfactory. Also the trio of Mendelssohn in D minor, Frau Stern at the piano, was executed excellently. Only now and then the lempi were a little overhastened. The other evening for chamber music was occupied by the quartetto Petri, under concurrency of Prof Dr. Reinecke. We refrain from eulogies concerning this quartetto, as its excellency is fully and throughout acknowledged, and will confine ourselves to giving the programmes, and in speaking of the worth of any novelties that may appear. The last programme was, quartett in G minor, by Josef Haydn, pianoforte quartett by Theodor Kirchner (new), and quartett in F major by Robert Schumann. The piano quartett by Kirchner possesses many graceful thoughts, many spirited combinations. One feels too intensely how great the composer felt the difficulty of spinning out his thoughts and of bringing them out in a clear form. The ability to master great forms is not easy, even for the greatest talent. To acquire this ability it needs an incessant striving, and an untiring desire to work. The quartett was not able to produce a good impression.

The Gewandhaus Concerts, that take place once every week, brought many splendid performances. A brilliant execution of Haydn's Creation in the seventh concert belonged quite especially to this category. A