My reason for insisting on the importance of all lovers of art being able to form their own opinions is obvious, when we consider that our musical public is obliged to take everything on trust. For instance, if we read on one page of some history (every history of music has such a page) that Mozart's sonatas are sublime, that they do not contain one note of mere filigree work, and that they far transcend anything written for the harpsichord or clavichord by Haydn or his contemporaries, we echo the saying, and, if necessary, quote the "authorities." Now if one had occasion to read over some of the clavichord music of the period, possibly it might seem strange that Mozart's sonatas did not impress with their magnificence. One might even harbour a lurking doubt as to the value of the many seemingly bare runs and unmeaning passages. Then one would probably turn back to the authorities for an explanation and find perhaps the following: "The inexpressible charm of Mozart's music leads us to forget the marvellous learning bestowed upon its construction. Later composers have sought to conceal the constructional points of the sonata which Mozart never cared to disguise, so that incautious students have sometimes failed to discern in them the veritable 'pillars of the house,' and have accused Mozart of poverty of style because he left them boldly exposed to view, as a great architect delights to expose the piers upon which the tower of his cathedral depends for its support." (Rockstro, "History of Music," p. 269.) Now this is all very fine, but it is nonsense, for Mozart's sonatas are anything but cathedrals. It is time to cast aside this shibboleth of printer's ink and paper and look the thing itself straight in the face. It is a fact that Mozart's sonatas are compositions entirely unworthy of the author of the "Magic Flute," or of any composer with pretensions to anything beyond mediocrity. They are written in a style of flashy harpsichord virtuosity such as Liszt never descended to, even in those of his works at which so many persons are accustomed to sneer. Such a statement as I have just made may be cried down as rank heresy, first by the book readers and then by the general public; but I doubt if anyone among that public would or could actually turn to the music itself and analyze it intelligently, from both an aesthetic and technical standpoint, in order to verify or disprove the assertion.