Altogether the Scherzo requires enormous virtuosity, which most members of the orchestra do not possess. “Apparently some passages do not sound as you thought they would. At the beginning of the Scherzo (where the wood-wind enters) there is a modulation to B♭ major through the dominant chord on F. [Illustration: musical notation] The superfluity of chromatic harmonies, as well as the difficulty of executing clearly all that is written for the wind, causes these passages to sound unintelligible and to have the effect of a series of wrong notes....” _To S. I. Taneiev._ “ROME, _January_ 4_th_ (16_th_), 1880. “Nicholas Rubinstein’s explanation is not at all satisfactory. From all he says, I can plainly see that he was out of temper and visited it upon the Suite. No one will induce me to believe this passage [Illustration: musical notation] is difficult to play on the oboe or clarinet, or that the flutes cannot play twenty-two bars of triplets in a rapid tempo. They could easily manage to play such a passage for 220 bars. It would be very innocent to imagine that this must be done in one breath. They can breathe every time. I play the flute a little myself and am certain of it. Difficulty is a relative matter: for a beginner it would not only be difficult, but impossible, but for an averagely good orchestral player it is not hard. I do not lay myself out to write easy things; I know my instrumentation is almost always rather difficult. But you must admit that compared with _Francesca_, or the Fourth Symphony, the Suite is child’s play. Altogether Rubinstein’s criticisms are such that--were they accurate--I should have to lay down my pen for ever. What? For ten years I have taught instrumentation at the Conservatoire (not remarkably well perhaps, but without compromising myself), and two years later remarks are made to me which could only be addressed to a very backward pupil! One of two things: either I never understood anything about the orchestra, or this criticism of my Suite is on a par with N. R.’s remarks upon my Pianoforte Concerto in 1875: that it was impracticable. What was impossible in 1875 was proved quite possible in 1878. “I explain the whole affair thus: the oboist Herr Z. was in a bad temper--which not infrequently happens with him--and this infected Rubinstein. I like the idea that the high notes are ruination to Herr Z.’s lips!!! It is a thousand pities these precious lips, from which Frau Z. has stolen so many kisses, should be spoilt for ever by the E in alt. But this will not hinder me from injuring these sacred lips by writing high notes--notes moreover that every oboist can easily play, even without a French mouthpiece!” IX