reacted to the news: Sibelius seems to have discounted his own pedagogical skills, telling Madetoja, "I am a bad teacher.". First, he had little patience for pedagogy or the quotidian nature of instruction, resulting in a teaching style that was "too haphazard" and "anything but systematic or disciplined". This was not lost on Madetoja, who in January 1910 wrote to Kuula in Paris, "Sibelius has been tutoring me. You know from your own experience that his tutoring is anything but detailed." Madetoja recalled, for example, that Sibelius's method consisted of "short, striking remarks" (for example, "No dead notes. Every note must live"), rather than "instruction in the ordinary pedagogic sense". Second, Sibelius's "deeply idiosyncratic" idiom was too "personal" to serve adequately as a "foundation" upon which to build a school of musical thought. That Madetoja's own musical style shows the mark of Sibelius is a testament to the longer duration and greater depth of his instruction under Sibelius; Kuula, who only briefly studied with Sibelius, shows no such influence. Finally, Sibelius—prone to periods of self-doubt and ever-concerned with his standing in artistic circles—was mistrustful of the next generation of composers, fearing one might displace him from his perch. "Youth has a right to make its voice heard. One sees oneself as a father figure to them all", Sibelius confided to his diary. "[But] they don't give a damn about you. Perhaps with reason." Despite these issues, Madetoja found his instruction under Sibelius enriching and the two men enjoyed a "harmonious" relationship, notwithstanding occasional irritations. Madetoja was clearly fond of his teacher and enjoyed Sibelius's counsel and company: Madetoja continued to feel this way throughout his life. A decade later, he sought to defend Sibelius against the (growing) conventional wisdom that he was a poor teacher around whom no appreciable school of thought had formed (unlike, for example, Arnold Schoenberg and the Second Viennese School). In Aulos, a volume published on the occasion of Sibelius's sixtieth birthday in 1925, Madetoja argued for a more nuanced, less "superficial" definition of the word 'teacher' and recounted with fondness his personal experiences as one of Sibelius's pupils. Colleagues Sibelius followed Madetoja's rise with the pride of a teacher. Early on he recognized his pupil's potential as a symphonic composer ("What you wrote about your symphonic business delights me exceedingly," Sibelius wrote to Madetoja. "I feel that you will achieve your greatest triumphs in that