making pale ladies blush, and of shaking the credulity of certain critics accustomed to believing anything they are told. I shall sin no more. Farewell, my dear Ella, and let my sad example be a lesson to you. Never trifle with the faith of your subscribers. Fear the epithet hurled at me. You have no idea what it means to be treated as a rascal, especially by a lovely, pale lady.
Your contrite friend,
To close the concert we had Brahms' "Triumphlied." A Handelian bal masqué, and unfortunately rather boring, as are all Brahms masquerades. A bibliographic note in the program of the Society of Friends of Music speaks of the "Triumphlied" as a "powerful" work. So, propaganda, already! Why was Bruckner's "Te Deum" not heralded as a powerful work by the generous writer of such notes? What is the meaning of those "fine" distinctions? Or does the epithet "powerful" apply to the size of the work? Was it hoped thereby to prepare the audience for a lengthy torture? Hints of that kind might be recommended to accompany the production of Brahms's compositions were there not a more grateful means of dealing with all discomfort. The reader already knows what I mean.
Hurrying to a conclusion, we shall touch only briefly on the concert given by Signora Marcella Sembrich. 3 A wonderfully cultivated throat. As coloratura singer phenomenal. These nightingales, unfortunately, sing only inane stuff. It kills the nerves and cripples the imagination. On the other hand, to judge by the immoderate applause, it has an animating effect on the hands.
January 23, 1887
Dvořák's symphony [No. 2, in D minor, Opus 70], whose performance by the Philharmonic was thanks solely and exclusively to Herr Hanslick, was amiably but decisively rejected by the audience. The latter's attitude toward this