Page 129, "like" changed to "likes". (Whether one likes his style or not,...)

Page 151, "dramatized" changed to "dramatised" for consistency. (He is a great master of form, but he dramatises the chamber-music forms very much as Beethoven dramatised the symphony,...)

Page 153, "Carneval" changed to "Carnaval" for consistency. (In his rendering of Schumann's "Carnaval" not a point was missed,)

Page 179, "Wienaiwski's" changed to "Wieniawski's" for consistency.

(Wieniawski's Fantasia on Themes from Gounod's "Faust," Paganini's caprice "I Palpiti," Bazzini's "Ronde des Lutins," the last-named played among the encore pieces.)

Page 180, duplicate "and" deleted. (For the present we are mainly concerned with Mr. Kreisler, who is not so desperately youthful, but is a mature and military-looking man, though he is commonly reckoned among the players of the new school, or the rising generation.)

Page 192, "Leonara" changed to "Leonora" for consistency. (Glancing now at musical activity in other countries, we find attention necessarily concentrated in the first instance upon the heroic figure of Beethoven, who in this year (1813) had already given to the world his Eroica, C minor, Pastoral, and Seventh Symphonies, besides his Violin Concerto, Razoumoffsky Quartets, Waldstein and Appa.s.sionata Sonatas, his one opera "Fidelio," together with the third "Leonora" overture, and many other works of towering genius.)

Page 224, "idiosyncracies" changed to "idiosyncrasies". (But when all allowance has been made for such personal idiosyncrasies, it remains the fact that Nietzsche has more boldly than any other writer of our time raised the most important of social questions ...)