The present series of monographs does not pretend to deal with any class of musicians except composers; but it so happens that two of the most illustrious instrumental performers that Germany has ever produced are also two composers of high merit, one of them a creative genius of quite exceptional power. It is only just, then, to notice, however shortly, the career both of Joachim and Mme. Schumann as composers, leaving on one side the brilliant record of each in the sphere where each has made the greatest mark on the history of the art.

It is a rule of almost universal application that performers of rare dexterity are bound to make certain sacrifices to that dexterity, and at least to make it the chief element in their artistic career. By dexterity I do not mean merely superficial agility of finger or of voice, but the whole technical side of the performer's art. This side of music acquires such an attraction for them that they are apt to neglect not only the other branches of music itself, but all the rest of the intellectual life. The better members of the virtuoso class are frequently to be found among the composers, but in nearly all cases their compositions, if not actually and intentionally show-pieces for their own use, are almost sure to be affected in some way or other by that particular quality in which they excel as performers.