Technical instruction and skill are to him only the means to a higher end. The performer must be capable of expressing all the pathos of the piece before him, so as to penetrate to the souls and stir the passions of the audience (pp. 52, 253).[10020] As the most important requisite to the violinist for attaining this, he indicates the stroke of the bow (p. 122) as "the medium by the judicious use of which we are able to communicate the pathos of the music to the audience." "I consider," he adds "that a composer attains his highest aim when he finds a suitable melody for every sentiment, and knows how to give it its right expression." "Many a second-rate composer," he says (p. 252), "is full of delight, and thinks more than ever of himself when he hears his nonsensical music executed by good artists, by whose artistic expression even such miserable trash is made intelligible to the audience." It is plain that he was a sworn enemy to smatterers and pretenders. Thorough technical study and an intellect trained to clear and rational thought he considered absolutely indispensable to a true artist. He grants, indeed, that genius may atone for the want of learning, and that a man highly gifted by nature may lack the opportunity of studying his art scientifically. But this does not detract from the main proposition nor make his demands less just. The extracts given above illustrate the principles and the views with which L. Mozart undertook the musical education of his son, and these being united to a correct appreciation of the freedom and indulgence due to great natural powers, it must be acknowledged that no genius could have been trained under happier auspices! This work, so remarkable for the age, met with suitable recognition. Marpurg, to whose judgment L. Mozart had {CHILDHOOD.} (16) submitted it in his preface, speaks of it as follows: [10021] "The want of a work of this kind has been long felt, but hitherto in vain. A thorough and skilled performer, a sensible and methodical teacher, a learned musician, a man possessing all those qualities which singly command our respect, are here to be found united in one individual--the author. What Geminiani did for the English nation, Mozart has accomplished for the German, and their works are worthy to live side by side in universal approbation."