Simple, natural expression is the highest aim of the violinist, so that the instrument may imitate as far as possible the art of song (p. 50); "who does not grant that to _sing_ their music has been the aim of all instrumentalists, because they have ever striven after nature?" (p. 107.)[10019] He is severe on performers who "tremble upon every long note, or cannot play a couple of bars simply without introducing their senseless and ridiculous tricks and fancies" (p. 50). They are blamed the more as they are for the most part wanting in the necessary knowledge where to bring in their ornamentation without involving errors in the composition (pp. 209, 195). Other faults of the virtuoso are equally severely dealt with, such as the _tremolo_ of the player "who shakes away on every note as if he had the ague" (p. 238), or the constant introduction of the so-called "flageolet tones" (p. 107), or the alternate hurrying and dragging of the "virtuoso of imagination." "Many," says he (p. 262), "who have no conception of taste, disdain to keep uniform time in the accompaniment of a concerted part, and strive to follow the principal part. That is accompanying like a bungler, not like an artist. It is true that in accompanying some Italian singers, who learn everything by heart and never adhere to time or measure, one has often to pass over whole bars to save them from open shame. But in accompanying a true artist, worthy of the name, not a note must be delayed or anticipated, there must be neither hurry nor dragging, so that every note may have proper expression, otherwise the accompaniment would destroy the effect of the composition. A clever accompanist should also be able to judge of the performer. He must not spoil the _tempo rubato_ of an experienced artist by waiting to follow him. It is not easy to describe this 'stolen time.' A 'virtuoso of imagination' often gives to a semiquaver in an adagio cantabile the time of half a bar, before recovering {L. MOZART'S VIOLIN METHOD.} (15) from his paroxysm of feeling; and he cares nothing at all for the time: he plays in recitative."