cedure with the Schumann Symphonies[1] it may be predicted with certainty that they will drop out of the repertory. Schumann was an amateur at instrumentation; he heard these works on the piano. To those who rise in horror at this point to suggest that such meddling with the work of genius is sacrilegious I may be permitted to reply that any one who prefers to do so may always return to the original score. In case improvements are noted in the rearrangements probably fewer conductors will avail themselves of this privilege.
H. E. Krehbiel, an honest man with violent prejudices, wrote bitterly about one of the finest conductors we have had in New York for no other reason than that Mahler added a flute here or suppressed a kettledrum there. This one-sided battle, conducted with considerable din,
- ↑ In 1921, Frederick Stock, conductor of the Chicago Orchestra, actually undertook to revise the scoring of Schumann's Rhenish Symphony. Occasionally, to give greater clarity to the thought, he even added a measure. He replaced Schumann's coda by another in which, however, he utilized the composer's material. He also seized opportunities as they arose for contrapuntal embellishment in the various voices. The instruments he added were one additional flute (interchangeable with piccolo), oboe (interchangeable with English horn), clarinet, bassoon, two additional trumpets, and, outside Schumann's original list, a bass tuba, triangle, cymbals, bass drum, side drum, and tambourine.
