Excerpt from On Conducting It is this homogeneous conception of the essential nature of a musical work that constitutes what there is of specially artistic in its interpretation; it originates in a deep feeling that is not dependent on the intellect, that cannot, indeed, even be in uenced by this, while it itself must dominate everything that pertains to the intellect, such as routine, technique, and calculation of effects. If this feeling is not strong enough, then the intellect usurps the foremost place and leads, as was often the case with bulow, to a propensity to ingenious analysis. In the contrary case the feeling becomes unwholesomely powerful and leads to unclearness, false sen timentality and emotional vagueness. If neither feeling nor? Intellect is strong enough, then we get, according to the prevailing fashion, either mere metronomic time-beating or a senseless mania for nuance, a mania that chie y prompted me to write this book. Neither, however, has anything to do with art, which is at its best when that exceedingly delicate balance, more a matter of intuition than of calculation, is attained between the feeling and the intellect, which alone can give a performance true vitality and veracity. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."