“I have spoken of Zaremba as progressive. He was actually an enthusiastic admirer of Beethoven’s later period; but he stopped short at Beethoven, or rather at Mendelssohn. The later development of German music, which started from Schumann, was unknown to him. He knew nothing of Berlioz and ignored Glinka. With regard to the latter he showed very plainly his alienation from Russian soil. Tchaikovsky, who was more disposed towards empiricism, and by nature antagonistic to all abstractions, did not admire Zaremba’s showy eloquence, nor yet that structure of superficial logic, from the shelter of which he thundered forth his violent and arbitrary views. The misunderstanding between pupil and teacher was aggravated by the fact that Zaremba most frequently cited the authority of Beethoven, while, following the example of his master, Marx, he secretly--and sometimes openly--despised Mozart. Tchaikovsky, on the contrary, had more respect than enthusiasm for Beethoven, and never aimed at following in his footsteps. His judgment was always somewhat sceptical; his need of independence remarkable. During all the years I knew him, he never once submitted blindly to any influence, nor swore by anyone in _verba magistri_. His personal feelings sometimes coloured his views. Zaremba, however, exercised no such fascination for him. Neither in Tchaikovsky the composer, nor in Tchaikovsky the professor, do we find any subsequent traces of Zaremba’s teaching. This is the more remarkable, because the composer went to him as a beginner to be grounded in the rudiments of musical theory, so that he had every opportunity of making a deep and lasting impression. I must, however, relate one occurrence which partially contradicts my statement that Zaremba had no influence whatever upon his pupil. When in 1862, or the following year, I expressed my admiration for the energy and industry with which Tchaikovsky was working, he replied that when he first attended Zaremba’s classes he had not been so zealous, but had worked in ‘a very superficial way, like a true amateur,’ until on one occasion Zaremba had drawn him aside and impressed upon him the necessity of being more earnest and industrious, because he possessed a fine talent. Deeply touched, Peter Ilich resolved to conquer his indolence, and from that moment worked with untiring zeal and energy. “From 1861-2 Tchaikovsky learnt harmony, and from 1862-3 studied strict counterpoint and the church modes under Zaremba, with whom, in September, 1863, he began also to study form; while about the same time he passed into Rubinstein’s class for instrumentation.