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 and Sauvlet, whose relationship to each other I do not know.

As regards style of performance, there is a considerable difference between the various nationalities. The English school (founded by Charles Nicholson) differs from that of most continental Style of players chiefly in its vigour and robustness of tone, especially on the lower notes. In the hands of unskilful players of this type there is a certain tendency to coarseness of tone, and a lack of refinement and delicacy of expression. The English players have also introduced much greater variety of articulation. The French and Belgian flautists aim chiefly at producing silvery purity and sweetness of tone rather than volumequality rather than quantity. Their tone almost invariably sounds weak to British earsBerbiguier himself termed them "joueurs de flageolet." They often seem to lack fire and dash; they are too tame. On the other hand, the foreign style is marked by refinement and delicacy of taste, and the phrasing is often exquisite. Moreover, they seem somehow more sympathetic in their playing. In pianissimo passages the result is often perfect; they will make a shake on the highest notes die away into nothing; but in fortissimo passages they seem, as a rule, afraid to bring out the full power of the instrument, especially on the lower register. The Italian players, whilst bold, full, firm in tone, and skilled in florid execution, are generally somewhat lacking in polish and delicacy, and often defective in tune. Mendelssohn in 1830, writing