Thus “lucrative” tours up and down Denmark’s Jutland coast, through Spain, through Holland, would alternate with trips that were undertaken literally “for art’s sake” and nothing else; for the sake of a performance under Furtwängler or Ferdinand Loewe or Hermann Scherchen, or for the sake of playing Brahms chamber music with Elly Ney and others at the Munich Brahms Festival, or for an Ernest Bloch première with Carl Friedberg at that Salzburg Society for Contemporary Music. These were heady pleasures indeed, and probably I could not have indulged in them had not these staid and substantial, if somewhat unexciting, concerts in small, prosperous Swiss or Danish or Dutch towns paid for them. If I am to pursue that figure of speech about the “three superimposed levels,” I would say that these heady pleasures belonged to the third and highest level. << less