1. art and entertainment
2. music
3. musical instruments
4. pianos

PIAlSrO
HOW
TO
HOW
AND
HOW
TEACH,
TO
SONG
A
FORM
MUSICAL
TO
JUDGMENT
OF
PERFORMANCES
BY
FRIEDRICH
WIECK
w
TRANSLATED
FROM
THE
GERMAN
BY
MARY
OLIVEE
P.
DITSON
NICHOLS
COMPANY
BOSTON
CHAS.
H.
NEW
DITSON
YOBK
"
CO.
LYON
AND
LEARN,
"
CHICAGO
HEALY
TRANSLATOR'S
Friedrich
of which
of
music.
died
He
father
the
was
long life
his
during
pianist,
Clara
who
second
daughter,
known
in
as
pubHc,
teacher
He
1873.
celebrated
the
Clara
Dr.
mann,
SchuRobert
composer
pupil of Wieck,
a
Fraulein
Germany
a
Wieck,
Marie
is
well
performer
artistic
an
His
on
piano-forte.
the
translated
I have
chat
less
a
will
the
glad
than
receive
to
author's
that
hope
illustration
Etudes,
Leipzig,
the
it
the
with
book,
in
may
views
his
the
will
be
readers
suggestions
no
country
own
find
belief
of
so
a
of
his
already
number
of
method,
published
piano
216668
in
by
addition
F.
exercises,
;
who
rienced
expe-
teacher.
a
In
of
little
America
in
valuable
be
this
knowledge
with
and
two
renowned
also
of
of
Fr.
now
was
work
the
to
autumn
teacher
the
ot
the
distinguished
a
the
Wieck,
widow
Schumann,
in
and
offered
here
is
of
author
the
Wieck,
translation
was
PREFACE.
to
the
Whistling,
"c., selected
Translator^
vi
from
the
literary
Marie
it
is
I
on
on
of
said,
to
omitted
composition
the
giving
the
piano,
or
be
in
the
interest
his
and
about
have
of
remains
Wieck
his
by
Louis
pupil
translation
the
ter
daugh-
Grosse,
and
that
value
a
the
on
they
to
the
few
of
management
concerts,
thinking
practical
Wieck,
are,
pubHshed.
and
of
Preface.
s
the
opera,
construction
would
be
general
Mary
portions
of
public.
P.
Nichols.
little
PREFACE
I
in
written
could
fruitless
to
in
who,
master,
tones,
is
and
a
avoid
me
to
for
increased
carefully
but
has
these
from
of
opinions
with
and
the
and
to
no
I
reasons,
giving
path
in
life ;
that
I
have
the
have
world
feelings.
fill
to
This
needs
man
been
a
I
the
sition
po-
is
true
trust
no
of
assertion
justifiable
this
desire
a
observe
to
called.
been
have
taught
;
me
ability,
my
correct
have
hesitation,
to
often
a
;
my
of
susceptible
vicious
in
music-
too
me
led
no
realm
and
the
and
met
only
;
the
in
beautiful
and
without
I
which
refrain
my
I
old
understanding
according
For
made
knowledge
conscience
good
Nature
false
say,
boast,
learned
tolerable
the
may
to
at
and
This
an
practice
good
whatever
endeavored,
vain
long
arrive
not
which
instinct
I
his
scientific
a
of
book
a
treatise.
expect
deductions.
that
and
would
man
public
not
own,
my
well-arranged
systematically
reasonable
of
style
a
EDITION.
musical
the
to
present
HERE
FIRST
THE
TO
to
a
hold.
with-
unwilling
to
expression
they
will
viii
Preface
with
meet
few
a
will
which
things
explain
spread
hands
it
I
while
with
it, that
whoever
new
incitements
I
have
held
I
this
allowed
be
may
satisfaction,my
pleasure of
of
I have
to
teach
from
This
as
an
a
Prof.
and
pride that
the
mention
the
their
they
and
and
continue
to
;
with
and,
equal
Heller,
of
affection
they
some
Marie
Wenzel,
principles which
no
pupils.
my
Waldemar
Herr
F.
opinions
here, with
Clara
E.
and
neglected
pupils,I speak
estimable
always enjoyed
I feel
and
other
the
Dresden,
upon
daughters
mimerous
among
to
it
learner.
I have
them
fosters
experienced
still hold
and
work,
impress
to
and
prehensive,
com-
enjoyment
most
constant
a
so
and
of
my
nected
closelycon-
so
loves
to
lay
upon
is indeed
The
many
material
in life is
study.
to
always
opportunity
Art
sources
new
be
in
advanced
it
must
art
same
plan
increased
even
writing.
in
the
my
Abundant
and
me,
still
music-teacher
a
into
enter
thing
daily find
of
not
every
will
I shall be
forth, at
set
detail.
was
and
teacher
did
before
out
; but
are
thoughtfully supplying
in
more
spirits who
there,
here
carefullyand
time
and
views
the
adopt
Edition.
aims
my
if, here
happy
First
sympathizing
understand
willingto
more
the
to
Leipa^ig.
gratitude,
defend
have
and
received
me.
is not
author.
the
The
first time
"
that
Signale
I have
fiir die
appeared
musikalische
Preface
Welt,"
well
as
the
as
published
have
with,
met
induced
of those
earlier
in
but
essays
; I need
my
humble
self.
of
caustic
will
i
Stan
end
on
will make
often
be, by
conducive
made
being
personal discourse,
as
individual
than
I
singing!
mind
he
and
teaches
talent, as
the
of
at
master
to
of
say
or
him
of
epistleand
is
to
my
treatise.
about
of
possessed
to
occupies
least, should
I have
because
something
he
I
frequentlyI
serious
a
to
writing.
congenial
more
that
made
style.
less
instruction, should
singing; he,
of
mode
of the
I suppose
elements
a
is
hair
not
piano-teacher, if
A
advanced
more
art
undertaken
also
have
man
dialogue form,
form
of
a
acknowledgment
for my
brevity;
to
manner
last
whose
of the
of the
use
this
means,
no
resents
rep-
understand
that
see
apology
myself
him
he
otherwise
are
through
inelegant
my
further
no
availed
was
have
by
originated
that
say
who
Those
critics
all those
frequently
Dominie,
moveover
brevity can
in this book,
The
hardly
will
me
polished style. May
appease
it
with
character, and
such
form.
these
has
Several
larger work.
the teacher
they
appearance,
included
are
partiallyaltered
a
unacquainted
my
this
writings
recurringcharacter,
with
their
pen
my
which
approval
of
undertake
to
me
The
fur Musik,"
from
essays
time
ix
Edition.
Zeitschrift
numerous
the
at
First
Neue
"
titles.
various
under
the
to
be, whether
himself
with
the
understand
show
a
warm
Preface
X
in
interest
it,and
When
it.
I
species
and
which
and
most
above
the
In
book
will
with
"
found
be
and
in
their
at
be
those
able
of the
of beautiful
to
show
past,
or
upon
and
ing
singother.
the
lime
sub-
beauty.
; but
many
Not
all, I doubt.
will
lay
aside
my
zeal
will
scorn
I
quite prepared
am
defenders
to
touch
each
to
present
until
and,
;
expressing
who
past age."
fashion
refined
music
piano
evident
to
beauty,
of unclouded
who
conservative,
shall
shall excel
the
and
be
to
future
of
possible
with
succeed
of the
it is
:
assist
of
most
supplement
this
contempt,
old times
the
the
culture
finest
and
make
even
man
for this
form
a
for
the
refer
singing, I
is
noble, in forms
it will
"
which
for
love
earnest
respects, the
mutually
will
whether
of the
of
the
many
the
and
book
general
consider
explain
should
few
an
foundation
for
basis
should
a
have
singing
things, I
piano.
My
Edition.
perfect interpretation
the
They
in
is the
all
tones
of
First
should
speak
that
the
to
; but
the
"
undervalue
I shall
least
tinue
con-
of
men
results
me
at
the
shall
the
which
equal
them.
And
now
I commend
trusting that
the
who
erring, incite
my
little book
it will instruct
the
wilfullypersist in
the
indolent, and
the
to
the
lic,
pub-
willing,correct
chastise
those
wrong.
The
Author.
CONTENTS.
Pagi
Chap.
I.
II.
On
Elementary
An
Evening
Piano-forte
Instruction
Entertainment
i
Herr
at
Zach's
III.
17
Many
Students
of
Piano
the
Few
and
Players
IV.
Conversation
A
Four
V.
VI.
VII.
On
to
Solid,
and
Daughter
her
31
...
Pedal
59
....
Soft-Pedal
Musical
65
Sentiment
Tea-Party
at
House
the
of
Spriggins
John
VIII.
Mrs.
with
Lessons
the
The
A
24
Singing
72
Singing-Teachers
and
85
....
IX.
X.
XI.
XII.
XIII.
Thoughts
Visit
at
96
Singing
on
Mrs.
N.'s
121
Secrets
Thoughts
On
Musical
128
Piano-playing
on
144
Talent
103
........
XIV.
Extravagances
playing
XV.
Conclusion
in
..."
Singing
and
.......
Piano173
186
PIANO
AND
SONG.
SONG.
AND
PIANO
CHAPTER
ELEMENTARY
ON
You
ask,
PIANO-FORTE
about
regard
to
of
mode
my
particular
some
method,
piano
my
especially
tion,
instruc-
elementary
essentially from
differs
which
INSTRUCTION.
friend, for
dear
my
information
with
I.
that
in
common
use.
I
give
place
if you
and
omitted,
talented,
and
Dominie.
to
to
little
I
my
my
make
Susie?
theory,
humble
friend,
and
dear
details
self
as
friend,
is
how
A
I have
ful,
thought-
a
will
enable
following
the
under
have
how
so
it
the
you
years,
which
little Bessie:
the
piano-playing
and
from
if
forty
piano-teacher
my
My
and,
of
experience
earnest
between
Dominie,
those
varied
understand
points;
experience
my
supply
own
dialogue
of
will
your
to
you
in
confidence
main
the
here
you
you
title
"
aged
man-
utterly distasteful
that
the
instruction
Piano
2
which
have
you
First
that
I
I
for the
delight of
confused
keep time,
not
and
could
she
made
not
only
her
the
she
; I
worse
again
she
You
Dominie.
when
great many
is it
of all with
leaps,least
But
Friend.
ladder
at
the
Dominie.
able
are
reach
coaxing,
the
a
the
begin
to
story.
begun
more
child to
climb
rounds,
but
Nature
}
that
to
whole
have
her,
"
end
an
lower
wanting
could
a
makes
no
children.
she
begin
not
to
cUmb
the
t
bottom
By
to
did
the
stantly
con-
fingers
never
possible for
only
not
more,
have
you
she
I scolded
me
certainlymight
judiciously. How
ladder
begged
perform
to
wrong
Then
little
a
her
notes, she
finallyI put
there
; and
all.
tried
;
piano lessons,,and
them
it at
;
zled
puz-
teach
course
the
used
her
which
to
hoped
treble
and
I made
notes,
Of
parents.
keys,
difficult matter
a
she
always
learn
; then
bass
ceeded.
pro-
of the
I undertook
the bass
cried
cry
her
years
I have
names
was
pretty little piece, which
a
was
the
which
; then
more
three
how
for her
her
taught
still
her
a
her
taught
treble notes,
the
after that
"
tell you
pretty dull work
was
learn
I will
last
?
nothing
to
Well,
Song,
for the
her
given
actuallyamounts
Friend.
and
no
means.
th
?.
top.
She
I
certainly never
should
say,
rather,
tumbled
she
that
then
time.
a
Bring
me
show
I will
Bessie, and
clamber
I
how
you
step
one
up
daughter,
youngest
your
even
of allowing
instead
up,
quietly,to
her, carefullyand
at
her
chase
tried to
you
speak
; and
middle
in the
climb
to
3
To
foremost.
head
down
mildly,she began
Instrtiction,
Piano-forte
Elementary
On
give
first
a
lesson.
Bessie,
Dominie.
1 so,
me
Bessie,
c,
Bessie,
c,
right :
d, eyf gy
r,
dy e,fygy
ay
good
:
now
the
are
see
you
of
names
must
with
learn
to
take
my
(I
one
these
after
the
sounds
the
this
several
times').
learned
have
thing
some-
alphabet,and
white
shall
you
keys
find
on
them
the
out,
yourself. But, first,you
strike
finger,from
treble) that
sharper
notice
eight,
by c,
musical
the
them
name
all the
now
ay
you
is the
That
again,then
by c.
(after repeating
piano-forte. Presently
and
first four
the
:
That's
already.
those
more
other,
Dominie
That's
b, c.
four.
after the
b^ c.
g^ a^
"
Once
next
one
on,
g^ a,
Dominie.
the
after
d, Cyf.
Go
Dominie.
Bessie,
letters
say your
you
dy e^f.
Cf
"
can
the
one-lined
c
to
higher
grow
other
in succession
keys
;
and
in
the
and
this
highest
becDme
way
(I
Piano
4
strike
the
bass)
hear
treble ; the
the
What
on.
upon,
is called
keys
and
give
to
the
black
and
then
and
the
to
on
found
the
the
called
c,
Dominie.
Dominie.
what
;
And
put your
finger on
keys
are
this
that
must
one
keys
the way
up
fore-finger
of the
let it
now
is the
slipo"E
have
you
of
name
musical
key
be
is called
the
bet.
alpha-
find
Anywhere
/ just
lowest
together,and
of
let it
d.
e.
comes/!
now
the
it ;
and
b^ c.
a^
can
keys
of any
one
the whole
Say
d, e,f,gy
key-board you
that
c
it ?
Then
of white
black
two
put the
below
next
play
to
white
the
lower
go
presently learn
together,and
are
Well, then,
Bessie.
the
that
to
Now
the
on
key
Bessie,
will
learn
always
are
key-board.
key
above
high sharp
we
keys together,all
black
white
key
next
both
there
see
keys
will
shall
You
ones.
right hand
black
two
the
Now
the
derstand
quite un-
key-board,consisting
right names
three
down
of your
the
; you
?
ones
here, and
see
black
the
deep
and
called
You
difference between
low
you
right,is
bass.
lowest
lower
grow
the
is the
the
to
c
sounds
half,to
half
the
now
and
the
upper
lower
Song,
one-lined
that
The
heavier.
tones
from
keys
you
and
as
any
on
easily,if
three
slip off
on
you
black
to
the
6
Piano
sounding
on
suppose
you
closely;
but
it
But
you.
will go
we
Uttle
a
by
I won't
and
towards
the
tiresome
tire you
the
listen
to
become
with
it any
else.
Can
I
pupil.)
is necessary
ear
it will
by
something
to
on
lower
delicate,quick
a
piano-playing,and
to
and
capacity of
the
to
find
Song.
lower
them,
bass, according
and
so
for
easier
more
now,
count
you
3,-1,2,3.?
Bessie.
Yes, indeed, and
Dominie.
1, 2, 3,
her
a
to
see
evenly and
as
in
if you
three
chord
2
and
by herself;
2, and
let her
careful
to
with
or
i
the
I count
and
3
I strike
the
various
steadiness
in
counting,
and
In
the
same
I teach
2
;
or
I, 2, 3, 4,
her
that music
and
sometimes
ways,
way
5, 6 ; at
is sometimes
in
Now
we'll
J
or
in
to
the
order
;
and
her
but
I
with
in
to
to
in
at
am
cision.
pre-
eighthI
teach
her
count
time
same
counted
count
short,
confine
her
to
with
chord
i, 2, 3 ; in
count
in
I,
time
same
her
alone
promptly
chord
the
(I lead
can.
the
leave
else
chord
Afterwards
let her
and
her,
count
strike
at
i, 2, 3,
evenly by yourself. (I count
of the
notes, and
strike
you
quarter-notes.)
even
count
can
keep counting
now
regularlyas
1
3
;
and
steadily,
count
chord
see
We'll
too.
more
give
her
tion.
atten-
i, 2,
telling
tripletime,
| time.) Now, Bessie, you
On
learned
have
difference
the
in
As
player.
about
I like it,and
But
Dominie.
I
When
call
we
minor
chords
gay
; the
minor,
former
laugh,
whether
I
;
listen
it will not
and
have
get
good
a
listen
to
latter
try
do
to
the
to
depends
upon
chord
joyous,
would
you
say ; the
take
strike
the
chord
pause,
that
of
and
then
notice
of
C
lighter touch,
or
make
major
sounds
Now
major
dwell
enforce
in the
third,counted
both
are
long
too
thing by
any
Now
of these
sounds
upwards
whether
will
I
from
you
take
the
minor
but
first,
at
much
talk
tell you
that
the
chords
is in
the
lower
it half
a
note
tone
;
make
to
these
too
C
minor
the
to
upon
the
at
usually distinguishes correctly;
explanation.)
difference
struck
together,they
weep.
short
a
stronger
a
listen
pains to
are
there
major
right. (I
first to
She
well
sad, dull, as
the
am
try, by
to
be
to
will
tones
But
the
:
then, after
chords.
or
don't
will take
several
chord.
a
and
and
you
that
can.
time, if they sound
major
child
learn
else, that you
just as closelyas
what
the
carefully.
Bessie.
same
know
to
rested, I will tell you
are
you
7
every
If
time
some
as
something
very
her
It is not
first lesson.
will
soon
well, and
very
tones.
the
of it,you
tired
to
in
this
learns
count
to
Instruction.
Piano-forte
Elementary
r, and
higher
"^
3
lower,
or
you
^
tonic, the
and
or
so
will
excites
be
of beforehand,
of
and
octave,
is
of the
now
will
we
keys, and
how
to-day. Just see
Thu%
repeat
then
use
tell them
can
you
tomary
cus-
explanation
we
things you
many
the
It
made
cursory
right ;
points
later.
sometimes
needful,
a
the
psychologically
pupil.
are
That
them.)
names
the
terms
pretty well already;
the
and
the
thoroughly taught
more
interest
the
of
dominant,
or
to
about
in passing,upon
occasionally,
technical
given
fifth
better
learn
to
come
you
this
explain
(Itis advantageous
to touch
which
Song.
I shall
flat.
^
third, the
on.
correct
and
by, when
and
by
Piano
-
once
more
will
stop for
have
learned
in this lesson.
It
Bessie.
Dominie.
I
Bessie.
^least
have
shall
I shall
to-day;
but
to
you
I have
another
I do
every
that
so
differently,
to
you.
play, first
on
in the
In
the
the
time
table, and
at
lesson
have
t
taught
great deal of it
I shall
always
lesson
}
first,you
at
I
a
it-shaH
next
lesson
next
repeat all that
and
so.
week.
a
you
it
find
;
lessons
I shall teach
different way,
a
always
three
What
Dominie.
in
will
you
may
!
Day ^afte^tb^morrow
Bessie.
you
hope
When
Dominie.
must
beautiful
was
we
last
will
on
teach
be
esting
inter-
begin
the
it
to
piano.
Instruction,
Elementary Piano-forte
On
You
learn
will
first
raise
and
make
in
the
beginning
on
the
piano
the
beautiful
the
also
in
(This
the
this
You
in the
fourth
will
And
a
Dominie.
A
3d
the
to
into
for
method,
plained.)
clearlyex-
find
the
to
strike
in
of
chord
them
the
C
with
third
or
quite perfectlyall
I will
please you,
teach
and
you
then
to
you
player,a pianist.
From
like the
you,
the
8th, which
be
can
You
leads
my
then
know
little piece that will
Friend.
to
already taught
the
to
for
treble, and
together.
reallybe
It goes
the
the
sit
to
and
keys
note, which
keys
learn
lesson, after you
I have
play a
different
will
and
hands
both
that
bass
leading
7th
how
as
hands.
your
black
quite important
the
way
the
learned
sound
you
half -step from
from
that
is
hold
you
fine touch
a
tones
show
to
Besides
be
must
the
the
learn
teach
to
acquire
I shall
of
the
latter is called
that
to
to
will
you
though
arm,
properly.
is,to make
how
the
exercises
order
names
C, with
and
in
and
the
fall
few
a
and
;
loose, for
; that
piano
scale of
C.
them
possible.
as
will learn
4th
let
wrist
to
at
weak
will contrive
we
fingers lightlyand
your
be
will
they
them
that,
move
quite independently of
loosely,and
at
to
9
whom
have
you
learned
all this }
lightning-train.
great many
people
can
learn
what
Piano
lO
is to be
; but
taught
only
found
real
love
and
and
be
rapid,for
is founded
it
the
another;
quietly,thoughtfully,and
going
roundabout,
much
too
I
to
try
things
the
crude
and
itself,and
do
time
as
not
to
not
and
I
see,
try
teacher's
not
musical
to
excite
to
a
let it
a
and
gradual development
instruction, I
culture
and
of
even
take
dreary,
which
to
in
and
the
the
develop
vague,
obliged
view
a
machine.
mere
method,
always keep strictlyin
general
endeavor
was
this
a
memory
in
practice of
little Susie
it very
done
it to
I
the
I
other
is often
it,and
but
advanced
observe
but
;
thing,
for
child's
the
killingpiano-jingling,in
your
teach
I consider
(as
interest
the
foundation
cram
degrade
to
require
mind
to
wisdom
to
and
to
try
never
learned.
way)
harsh
pupil'smind,
the
I
afterwards
be
to
hindrances
and, in teaching each
lay the
and
prepare
important
with
little ;
too
or
I
every
without
surely,
any
unlearned.
be
to
without
thing
one
learns
pupil
thing
of
unquestionably
proceeds step by step, and
upon
mistakes
musical
the
development
will
advancement
with
mind,
to
mental
I have
taught
whole
my
thought,
general
The
pupils.
it is to be
how
constant
improvement
Song,
by devoting
out
my
and
way,
learn
;
doing
individuality
pupil.
an
disposition of
In
more
interest
the
in
pupil,
On
and
improve
of
sense
Piano-forte histruction.
Elementary
opportunity
every
aid
continuallyto
beauty, and
forth
call
to
\ l
the
tellect
in-
the
in
development.
Before
Dominie.
do
in view
I do
but
make
not
mechanical
or
after the
notes
so
that
I may
the
I
the
treble
year's instruction,
till the
notes
the
bass
own
my
be
may
kept
I did
of the
end
the
sixty
daughters
own
;
the
teach
in
them
to
after
or
pupil'smind
my
stantly
con-
senseless
and
perhaps
teach
With
constantly active
teach
distasteful
useless
a
keep
to
good technique
a
first six months
but
eighty lessons,
peculiar way,
not
to
practising."
"
of
piano-playing
her
I
agreeable.
formation
deal
great
a
?
time
all this
notes
have
that, we
the
pupil by urging
treble
the
are
interesting and
is
that
where
But
Friend.
notes
several
do
meanwhile
first
months
later.
But
Friend.
You
Dominie.
lesson, and
a
knowing
chords
a
of
the
from
to
in
keys
about
my
it.
have
from
wrist
to
;
to
a
this
tivated
cul-
almost
correct,
fingers,and
this
swer
an-
players,without
taught
the
I have
pupils,and
skilful,good
I
note.
the
said
taste
be
able
be
to
?
yourselfafter hearing
for
I have
musical
them
taught
touch
what
you
really ought
question
that
did
what
I have
light
of whole
added
the
Piano
12
all the
in
scales
taught
pupil
this
finger
from
At
the
is
of
sense
insisted
the
on
I
the
theory. So,
find
triad
the
seventh,
and
to
chords
But
passages.
without
thing, or
the
tracted
dis-
result
is
an
to
their
in
at
the
diligently;
all this must
out
time
same
of
the
too
the
in
and
of
to
the
key,
every
make
use
figures
and
to
new
with
pupil
chord
be done
pupil
You
fingering.
transpositions
tiring the
little
great delight and
dominant
all sorts
the
sub-dominant
for instance, I teach
the
of
practical,I begin
become
and
cultivated
invent
to
and
correct
to
wearing
important.
scales
division
pupils
of the
their
with
to
of
way
the
course,
practise them
of these
and
order
the
attention
the
and
have, of
use
that, in
weakness
in every
the
exercises,
see
the
dominant
the
; and
advantage
playing
the
ing
practis-
desirable
in
taught
helped
little
even
The
scale.
time, and
with
of
habit
it is not
tones,
be
not
togethei.
the
and
time, I have
have
I
feeble
should
hands
concealed,
poor
same
cadences
and
both
together
the
and
the
bars.
these
early,for
too
hands
both
unequal
but
;
later ; but
together
on
fourth
Song,
gradually acquire
them
with
keys
first,with
at
may
insist
and
without
much
interest, which
haste,
with
is
one
all-
Piano
14
myself ;
I have
different,in
have
because
never
from
came
been
a
certain
a
ideas
I have
and
lived
understand
to
every
with
and
to
pupils
also
determination
of
the
insisted
for my
the
love
of their
a
to
to
the
hear
the
give
In
Friend.
with
fast
hold
to
to
the
to
But
your
how
have
;
opposed
I have
lessons.
my
well-tuned
of
ment
instru-
eye
to
on
in
been
the
this
and
myself
devoted
have
merit
pupils
my
have
false
allowed
endeavored
both
duced
in-
and
have
about
and
fact, I
heard
it.
never
have
tried
have
artistic ; and
my
have
music, and
calling,and
my
of service
shown
prejudices
teacher, always fixing my
been
I have
never
age
advice
good
confidence
beautiful, and
1
;
pupil,
Moreover,
in
fine
a
upon
to
in my
same
century, and
times, and
parents.
thoroughly
the
advance
pupils,and
and
child
every
obliged
the
all
impatient parents
I have
is
to
up
and
lendencies
with
and
views.
thing great
my
new
routine, have
who
pedant,
something
heart.
the
of
man
improve
to
cheerful, joyous courage,
usually kindled
has
it
myself
and
a
up
always
been
lesson
every
Song,
sought
always
always kept
this
and
have
and
day,
every
and
wholly
the
true,
way
have
pupils.
do
ideas
you
and
find
with
parents who
your
pathize
sym-
loftyviews
?
On
Elementary
Dominie.
found
I have
of my
pupils
at
few
a
would
not
lessons
;
time
least
after
In
into
the
them, I have
fullyoccupied.
been
think
that
training of
views
like
and
young
will be useful
they
mental
general
ardent
an
giving
here
of which
to
even
for their
would
as
for the
be
understand
are
people, the
stride
till
and
at
straight to
they
to
come
fume
about
bottom
only
fulness,their
or
to
wish
want
excuse
that
to
you
in
choose
!
I
notes,
unclassical
to
conceal
of culture
their
and
habitual
tentions
in-
my
who
do
not
misunderstand
have
who
;
to
method.
my
bray
and
by
ing
follow-
servile
a
to
who
who
especiallyavoid
especiallythe
"
the
think
not
animated
are
Alas, all those
!
my
alreadypossess
method,
Beethoven
my
do you
who
people
the
the
assist
entirelycontrary
the worst
classical
will
calling}
who
or
me,
those
me,
rest
who
friend, do
who
and, in fact,contrary
But
found
} and
those
exclusive
any
few
inexperienced teachers,
culture, and
love
ent
pres-
abandoned
My
these
strivingfor improvement
are
been
of those
case
ents
par-
views, if
my
had
they
15
all the
into
but, nevertheless, I have
has
not
almost
entered
lessons.
enter
that
have
immediately, at
not
Piano-forte Instruction.
ill-natured
about
no
music,
patience
foolishlyprate
but
management,
their
own
unskil-
of disinterestedness,
drudgery.
Lazy
1
Piano
6
teach,
to
talent
without
people
and
This
minds
educated
highest
slightest
the
the
the
immoderate
of
invent
absurd
what
and
with
unheard-of
reports
have
thrumming.
own
and
it
with
children,
using
the
polite
do
by
not
circulate
to
of
published
has
led
only
to
me,
to
hesitate
the
about
management
world,
and
inquiring
the
ation
vex-
daughters
my
used
who
it, instead
about
the
"practising,"
industriously
already
comparing
their
;
to
great
of
tyranny
a
spirit
even
the
to
even
to
more
what
cause
position
to
kind
in
without
indeed,
and
musical
every
and
I
will,
It
and
tortures
show
culture,
out
giving
daughters,
own
world
artistic
of
will
and
ill-minded
attribute
inspirit,
to
itself, point
by
method
musical
severity.
to
to
almost
my
my
of
point
undertake
cannot
instruction,
have
in
will,
chapter
advanced
who
I
Song.
cultivate.
to
unprejudiced
I
and
most
into
teaching,
which,
to
senseless
An
Entertainment
Evening
CHAPTER
AT
DRAMATIS
Wife,
His
the
her soft,
Stock,
Mr.
of
i
family
Cecilia, his daughter
^
Zach
the
I
daughter,
Dominie.
now
played
We
very
stool.
I
I
unable
was
formerly
was
the
on
of the Tz.
because
out
Stock,
flute.
Your
Does
she
strict, and
How
many
about
more
music.
family(envious because
her
Mr.
"
in earnest
are
like
iji
to
07ie
hours
y ester-
unable
When
to
did
.
Just
t
day
how
They
daughters
a
been
breath)
play }
playing
tie your
Cecilia
public performance
Bitffalo had
all
daughter begin
t
that
believe, plays pretty well.
applausefor
and
your
I regret
Well, yes ! perhaps something
Madame,
bring
.
{shy).
yesterday.
and
pretty well.
received
old
i^ years
concert
myself
musical
dayy
piano thoroughly')
of the family.
{toDominie).
attend
than
wealthy.
very
piano-teacher {rather gruff).
Dominie,
to
ZACH'S.
{rather sharp-tempered).
Tz.
of
7nusic-master
Buffalo,
HERR.
old (is studying the
y years
17
PERSON^E.
not
Zacvl, formerly ajliite-player,
Herr
ZacUs.
11.
ENTERTAINMENT
EVENING
AN
Herr
at
do
to
you
old
say
is she
you
the
make
are
pianoher
1
Piano
8
Don't
practise?
?
much
Has
health, madam,
look
might
play
hear
to
I can't
in
of
like
about
not
his
with
to
which
of your
Mr.
hear
is
Stock?
you
some
place
me
your
praise);
what
you
Mr.
Buffalo
looking through
out
all
the
is to
(resignedand
son,
the
give
to
eldest
Well,
take
to
only
was
the
evening, who,
Now
to
Dominie
I have
that
we
think
may
you.
picking
Dominie
bored).
I
much
(Mr, Buffalo
and
to
ill-
and
torment
playing,though perhaps
agree
obliged
night.
is
world.
the
very
and
God,
opinion freely(ofcourse,
should
she
perhaps
holding Dominie
you
this
play
grace
Thalberg
?
years
not
was
good
exactlysay.
say
practise day
Stock
my
the
time, by
of
But
daughters dreadfully;
obliged
shall
family.
button-hole). They
your
in
strong for her
and
(suddenlyinterrupting,
the
was
looks
much.
so
{bowing).
Zach
treat
Tz.
too
sickly?
she
cheerful, if she
piano
Dominie
by
the
more
the
on
think
tall and
of
Madame,
herself
exert
Isn't she
you
"
her
?
talent
Don't
Song.
make
you
she
Dominie.
and
heard
Stock.
a
the
Etudes^ by listening
his
earn
supper).
foreseeing that
great deal
What
music-cas^'
are
you
of
he shall
the
be
industry
studying now,
An
I
moric).
already
and
the
in
what
are
Schumann's
through
such
making
musical,
flute,said,
the
Are
1
those
little bits
is
mother
not
waltzes
Stock.
to
for
am
or
!
more
:
But
Etudes?
the
}
Schumann
can't
bear
latelyplayed
that
people
My
mamma,
who
when
papa
played
little
children
He
things
? and
may
are
then
play such
us."
to
"
Kinderscenen
"
for grown-up
be
I
Buffalo.
Buffalo
sing
them
not
right, they
ought
of
book
in earnest
with
ridiculous
Well, these
Dominie.
much
Buffalo
Mr.
to
for
wife,but
Etudes.
alreadystudied
for Mr.
about.
waltzes
names
I have
scales
Now
Kinderscenen,"
used
What
they
babyish
stuff to his
"
first
Cramer.
Mr.
talk
and
the
Chopin,
"
a
hours
two
very
and
Schumann.
and
Chopin
is also
are
{contemptuously).
Stock
Sopho-
y
hours
studying
you
Mendelssohn,
Hummel,
rather
19
it.
well for you,
pieces
are
:
Indeed, you
speaks
that
of
books
ad Pamassum
Gradus
Dominie.
the
four
ZacKs.
four
through
gone
right fingering for
the
day,
a
together,and
hands
Clementi
hours
six
play
both
have
I
Herr
at
(in proud self-consciousness
Stock
with
Entertainment
Evening
men's
too
are
hands.
Your
there
short:
of them.
rious
cu-
are
But
they
tainly
cer-
are
!
Indeed,
I
am
not
allowed
to
play waltzes
Piano
20
all.
at
have
then
and
he
Beethoven's
is
of you
and
he
as
Perhaps
have
you
shan't
is to
times, it is necessary
He
and
death
bought
day,
every
(Herr
playing
But
of musical
in hand
that
and
cards
Dominie.
order
him
pieces
the
with
Buffalo.
worked
succession
his
in the
do
not
the
My
; but
round
air.
old
aunt
combine
study
of the
cultivation
mechanical
bling.
grum-
fresh
an
all
are
further room.)
you
with
and
patience
ride
to
is
that
"
them
over
in the
wife
in these
through
saddle-horse
revived
tainly,
Cer-
without
enough
a
he
with
Zach
friends.
work,
at
.-*
Nevertheless,
accomplished
keep
wretched
was
method
my
t
one
has
in
Etudes
96
papa
Mr.
the
Stock, here, has unusual
But
He
on
proper
public ;
be
like
you
be
to
perseverance.
Cramer's
his
of
him, steps up).
being good
our
thing
doctrine.
do
different
a
prevent
if any
and
the
in
overheard
how
Dominie,
Herr
has
{^ho
Buffalo
Now,
my
write
I shall
say,
;
concerto
a
play that
"
aunt
Parnassum
ad
all."
Mr.
that
will
and
shall
I
my
Gradus
first,I shall
:
undertake
to
me,
it.
fingering over
then,
going
with
thorough
all the
dig through
to
Song,
is very
teacher
My
and
of
taste
improvement
dear
friend,you
the
study
exercises, in
may
go
hand
}
are
too
nar-
Piano
22
Parnassum's
ad
Gradus
Yesterday
!
!
fine-sounding
especially
It
tickles
stick
We
manner.
Hummel's
to
Carl
You
it
Meyer.
the
is
played
to
Clementi
daughter
play
Altogether
too
in
such
and
great
mistake
world
does
be
to
ear,
the
"
a
sical
Classical, clas-
!
your
piano-school,
made
have
thing
made
by
when
Song,
the
you
Trill-Etude
that
and
sure,
studied
a
Cramer,
old
good
with
and
school.
eldest
your
daughter.
The
Dominie.
with
of
must
if you
had
Chopin.
Buffalo
It is
!
or
to
the
to
left,but
"
one
says
our
Stock
his
looks
Cramer
tendency
follyto
no
with
One
of such
Mr.
us.
tion.
of affec-
bond
to
mann
Schu-
talk !
without
neither
and
to
father
the
thing
by
aim
played better,
with
to
lost
and
any
the
tion
hesita-
right
nor
straightforward.
I
right,
what
different
out
vanity, and
Dominie.
be
agree
maliciously).
have
this
But
listened
says
years
a
quite
follows
He
like
what
is bound
would
for ten
don't
careful
be
she
left her
We
and
child
family (has
Tz.
that
agree
Clementi.
must
the
by itysteps up quickly,and
trick
You
a
to
seem
you.
Madame,
a
not
from
beg
your
your
pardon,
point
madam
of view.
:
We
you
must
may
be
An
a
little
not
Entertainment
Evening
your
with
indulgent
play
son
(Stock plays
to
Cramer^
and
not
eve7t
grow
his
father
sensitive
Etudes
four
23
But
will
people.
Clemefttiy
of
them.
over
him
three
but
Gradus,
the
from
warm
gave
Zack*s,
?
us
two
Herr
at
has
made
of
did
The
hors"t
him,
quite
strong^
I
be
may
How
?
I
asked,
do
plan is only
in
the
write
t6
hints
give
to
did
how
But
wish
not
writing
not
"
and
Stock
play
treatise
a
:
I
suggestions.
of
interest
?
"
my
am
Buffalo,
Stock,
Co.
"
After
the
good,
were
My
timid
ate
a
playing,
but
the
did
salad, and
to
left
wine
daughter
little
went
we
not
a
like
table
at
:
supper
little
the
oysters
sharp
oysters
listened
;
taste.
she
but
of
instead
talking.
few
A
about
On
innocent
horses
taking
Cecilia,
days
you
and
anecdotes
balls
and
leave, Madame
"If
you
will
keep
play
very
dogs
said
on,
related
were
my
and
at
Stock's
table
future.
condescendingly
dear,
nicely."
one
of
to
these
Piano
24
and
Song.
CHAPTER
STUDENTS
MANY
III.
OF
THE
PIANO
AND
I'EW
PLAYERS.
addressed
is
pity that
It
takes
a
when
he
rather
in
say
piano
nothing.
use
is it to
through
for three
You
this
man
or
stiff arms,
with
are
will learn
never
Is not
lead
t
and
the
end
of the
And
one,
that
time
the
worth
boys, abuse
sons,
been
and
joice
re-
ing
learnstill
able
to
stammer
polonaise or mazurka,
is
gain
gold, and
teachers
art
and
can
ask. Of what
fingers,a stupid face,
weak
poor
who
whose
You
be
to
waltz, or
the
right ; and, further,
thing.
boy
or
would
you
friends
more,
doubtless
any
with
pound
dull, have
or
.
father
a
I agree
than
many
years
lounging figure.''What
say.
had
PupW)
for
; but
stones
small, bright and
great and
Piano
sons,
sons
have
you
a
and
paternal felicity,
that
the
his
break
should
You
piano.
they
in
no
that, if you
say
you
of
have
you
great dehght
you,
do
to the Father
{A Letter
it
yet
to
we
torment
the
piano
evening, in despair,torment
art.?
are
and
You
offered
themselves
; and
at
their
the
own
Studejtts
Many
after
wives,
they
cuffing,and
the Piano
of
all
have
lamenting,
You
the
speak
I
though
did
dreary face, but
without
I have
I
teaching.
I
tried
studied, and
better,
I found
as
; and
boys
I have
one
whether
I
could
hit
wife
But
piano-
over
above
rose
could
not
with
with
and
the
succeeded
different
a
upon
and
manage
succeed
better
a
I did
considered
not
managed
same
degree,
my
and
and
in accordance
more
to
courage
reflected
I have
better, because
and
up
I
the
same
lamentation
to
gathered
drudgery.
mere
the
to
tion.
consola-
had
good appetite.
a
up
not
25
scolding,
or
bring home
not
give myself
not
been
success
truth.
only
Players,
day long
experience myself,though
and
afid Few
way,
than
nature
that
V
used
in the
and
most
piano
teachers
order
notes,
of
rely
to
to
the
upon
teach
that
pleasure
singing
make
the
they
in
a
fine
a
even,
of the
sound,
of
culture
well.
after
as
a
as
fine
I endeavored,
exercises
so
opening
not
at
the
possess.
first
singingin
tone,
without
ing
interest-
pupils always increased
a
short
time,
took
tender, full,singing
acquirement which, unfortunately,even
do
the
necessity for
touch," just
necessary
that the attention
and
I laid down,
important principle,the
formation
"the
schools.
In
beginning,
this
not
way,
in
the
great
tone
;
made
middle
an
tuosos
vir-
many
we
;
an
:
we
Piano
26
harnessed
dry
which
which
he
touch
has
about
a
to
to
fine
tone.
interest
by
stiff,inflexible
; while
notes
do
from
the
is to
required
be
;
kept
observe
to
the
mind,
notes,
I did
selecting pieces which
or
such
as,
though
the
piano
adapted
to
without
prominent
performance
I chose
"n
the
a
great thing gained
anticipation of
but
time,
must
the
be
right
universal
were
error
difficult,
too
not
short, easy
the
were
correct
studied
well
pieces,
pupil might
and
take
fully,
care-
interest, which
with
; for the
success.
with
inabiUty
same
use
difficulties,in the
slowly, willingly, and
his
he
either
pleasure. Consequently, they
last is
the
were
of which
tinkling,
ing
Later, after teach-
purely musical,
; but
expect
we
the
to
!
fall into
not
talk
to
nothing
and
time, and
of
skilful
receives
while, at
in
correct
use
only
sees
of
aim
struggling
are
Poor, stupid children
fingerst
the
pupil
teacher
no
toneless
fingers
the
final
a
can
mere
lesson
advantage
the
How
thing right, and
any
much
it is of
acquired,
something
Until
perceive.
not
pupil
every
him, and
to
singing
an
blame
so
been
arouse
while
the
did
at
learned, the
obvious
not
was
had
tormented
be
to
The
wagon.
footing,and
being
matters
Song,
before the
firm
a
enjoy, without
with
of
horse
obtained
now
to
the
and
The
pupil rejoiced
struggle over
Students
Many
the Piano
of
and
all
single difficult places destroys
disgust,and,
talent, creates
uncertain
render
to
what
of
"
with
tone^
loose
yieldingy movable
the
and
27
pleasure,palsies
is worse,
it tends
of the
bringing
faculty
out
and
quiet fingers
wrist, without
the
fine
a
assistance
a
of
arm.
You
and
the
Players,
confirmation
the
already partiallyacquired,
legato
Few
merely good
not
zealous
should
correctlyand
mistaken
are
with
:
of musical
deal
who
have,
talent.
There
who
but
much
also
possess
that
many
teaching
tolerablywell.
for music
even
in
small
We
case.
of
we
also
banging,"
playing.
as
in the
zeal
and
able
pupils are
cultivated
for
talent
that
the
and
play
to
taste
improved,
places, by singing-societiesand
private
find
great
only musical,
not
are
you
a
also, ev^n
further,
add
m^ore
concerts,
than
much
better
have
books, Etudes, and
still
their
I will
is much
public and
so
Here
contrary,
are,
suitable
everywhere
you
exj-ress
by
formerly the
was
in
aids
tion
instruc-
piano pieces ;
"jingling"
it, and
we
least,play
at
finely.
the
on
provincialcities,teachers
who
could,
if not
facility,
we
otherwise, with
piano-playing in Saxony,
hundreds
produce
especiallywanting,
; for
teachers
of
pursuit
is
talent
that
suppose
and
yet
but
"pianono
piano-
Piano
2S
Let
consider
us
for
firm
a
of the
in
far
so
has
is
what
of
?
One
thing
hours
to
ten
to
work
when
they ought
After
they
and
day,
a
they
then
have
of
lessons
!
and
unimpaired
interest, otherwise
Besides
inflexible
this, much
fingers.
in
and
no
to
use
have
they
their
success
free hours,
lessons
fresh
great
to
when
is the
}
exhausted
cruelty!
be
But
school-room,
are
What
is
seven
required
are
piano
the
to
for
fresh air.
children
ought
}
from
in their
and
on
over-zeal
an
from
with
learned
studied
with
attention
be
stead
In-
air, piano
and
expected.
stiff,
writing, in itself,makes
But
the
tone
no
school
memory
butter
piano
vigor,
to
then
unstrung.
bread
The
is it to be
the
when
nerves
what
acquired by playing
escaped
consequently
their
to
the
understand
enjoying the
be
to
singer,if
a
be
and
to
to
a
touch,
kept
are
notes
of
of
execution
no
Owing
comrAit
and
are
then
more.
in
when
and
Is this to
children
education,
has
knowledge
basis, except
the
not
t
voice
how
But
does
he
piano-forte.
the notes
and
basis
proper
proper
in
the
are
the
piano-learner, if
a
little
subject a
The
wanting.
service
use
attack,
no
of the
place,the
afford
it is of
as
management
the
first
cannot
piece. Of
he
the
structure
notes
Song,
this aspect
In
closely.
more
and
child
to
find
Piano
30
theories,
own
and
to
be
and,
teacher,
talks
of
with
The
regard
so-called
with
playing
!
Bach,
Beethoven,
Look
difficulty.
his
his
how
daughter
himself
!
is
However,
I
!
his
pupils,
classical
the
it
is
all
more
ful
use-
him
reply,
"
:
!
"
is
his
at
Music,
Expression
That
just
and
composed
!
!
the
pianists
stifled,
arias
musical
ing
hav-
carefully
and
hear
musically
are
tion
ques-
without
Spirit
!
He
taught.
are
much
not
Mendelssohn
at
the
-consciousness
classical
children
sing
they
But
self
air.
but
;
touch,
pieces.
Classical,
"c.
;
clumsy
the
exercises,
sure
it
learned
and
proud
a
in
how
is
of
fostering
music
See
these
formed
skilfully
than
to
practising
previously
and
scales,
etudes,
influence
stiff, restless,
efforts
its
ceited
con-
practical,
much
exert
a
half
too
composer,
sufficiently
not
himself
expends
bravely
a
to
or
has
he
that
touch,
and
dogmatic,
indeed,
Song,
of
much
too
good
a
and
Farewell.
!
hear
by
with
Conversation
A
LESSONS
it
is
that
pieces
correctly
which
the
had
tolerable
for
Etudes
in
shading
From
manner.
a
my
studying
their
have
had
the
considerable
or
that
with
my
your
youth upwards,
I
played
have
taken
terly
mas-
have
and
scales
ure
great pleas-
and
industriously practising
I
direction.
talent
piece of
;
and
of Kalkbrenner
music
to
my
I fear
and
have
able
to
own
it will
merous
nu-
Hummel,
even
but, nevertheless, I
;
pleasure of being
of others
execute
been
never
any
satisfaction
be
the
same
daughter Emily.
Dominie.
to
a
; and
own
for my
celebrated
bungling
time
compositions
under
them
such
fact,in
; in
I have
instruction.
long
from
expression, and
much
so
the
play
to
heard
have
how
understand
able
are
I
with
delicate
most
to
intelligently,without
and
hesitation, and
or
glad
be
daughters
your
numerous
so
I should
Solid.
Mrs.
DAUGHTER.
HER
TO
FOUR
AND
SOLID,
MRS.
WITH
CONVERSATION
31
IV.
CHAPTER
A
Solid,
Mrs.
In
order
question, I
will
to
give
a
answer
satisfactory
lay before
you
a
few
of my
Piano
32
and
Song.
principlesand opinions in respect
special reference
with
present time
and
demands
greater
music
execution
performances
their
own
with
their
more
or
beautiful,which
has
general
they are
not
to
or
that
to
own
musical
been, and
is
difficult to
instruments.
touch,
execution, will
Etudes
and
is
a
which
come
a
full,
neglected by
ity
facil-
mechanical
correct
rest
this basis
upon
requires special attention
pianos, which
than
mistake
alone
to
can
Even
much
are
old-fashioned
the
that
suppose
produce
of itself,
through
scales.
in
much
play upon
It
ance.
perform-
acquisition of
cultivation
softlyleathered
more
infallibilit
touch, the
A
moreover,
our
of
should
its foundation
too
still,
teachers.
its advanced
of
selves
them-
want
a
which
powers,
has
that
to
this arises
the
ful
care-
aware
musical
satisfactory
a
confidence
upon
of
are
consciousness
a
produce
alone; which,
correct
they
from
in their
firm, clear, and
and
their
by
; and
to
and
awakened
Thus
for
taste
others
in order
masters
consequently
cultivated
been
to
usually correspond
not
less
regard
give satisfaction,either
almost
has
and
;
in
able to
amount
which
do
education.
confidence
This
greater pretensions
formerly
than
musical
and
make
culture,
Educated
piano-playing.
to
ladies of the
musical
to
with
the
a
a
good
practice
masters,
it is
unusual
A
Conversation
to
meet
with
the
Mendelssohn,
I will
ladies
Henselt.
now
of the
contented
not
few
presents
from
difficult
pieces. They
correct
Mendelssohn,
for the
of
sake
obtain
education
in mechanical
has
degree
further
not
begin
"
:
major
hands
and
own
your
with
Madam,
and
at
you
a*
minor
once,
must
for
their
our
you
select
of your
of
wisdom
must
their
exalted
every
supply
?
in
work
in
also
three
c
thirds
or
some
proceed
friend
to
I should
Mr.
falo
Buf-
day practise the
scales, in all the keys, with
and
early
tion
instruc-
method
I
to
demands
daughter,
our
also,
they expect
deficiencies,before
the
Weber,
subsequent
to
more
pieces of Liszt,
without
me
to
grand
von
pieces,when
request
education
involved
upon
M.
can
faultyand
to
were
the
How
skill,and
also been
If you
C.
bravoura
insufficient
was
seize
others, and
of such
command
a
and
"c.
Thalberg, Henselt,
which
they might gradually
once
variety,the
Our
pieces.
requires no
Beethoven,
Chopin,
of
persevering study
at
and
Thalberg, Chopin,
play simple music,
and
and
by
compositions by
of
which
advance
33
Moscheles,
selection
to
difficulties
and
fingering;
Solid.
and
that
and
speak
are
Field
recent
more
Mrs,
sound, fine, unexceptionable
a
of
touch, like that
among
with
and
four hours
in
both
sixths
daily at
;
Piano
34
of
Etudes
playing
advice
improve
of
instead
not
chapter, and
various
that
you
keys,
and
fingers.
the
beautiful
most
of the
movement
the
hand
and
with
; without
ease,
under
great
an
try
promptly
and
in
notes,
attention
to
things, I wish
from
out
with
a
the
quiet
position of
correct
jerking of the
I shall
sureness.
arm,
tainly
cer-
also, for it is necessary
attention
and
a
first
transposed
without
all
purpose,
in my
bring
to
will
fingers in
this
be
to
air,
well-formed,
possible tone,
lightness,and
care
This
skilful
Above
uneasy
scales
keys.
whole
your
fingers and
insist upon
pay
I
how
in the
have
them
played
give
may
tone
mentioned
exercises
require
and
I
such
set
unnecessary
employ, for
shall
observe
to
piano
short
the
the
sisted
in-
daily
thin, feeble,
much
with
upon,
will
I
you
hands
your
with
out
work
to
of the
order
it
by
place,endeavor
is too
produce
to
given
present,
too
thing."
any
still
first
long time, for
a
condition.
several
into
tries
drawing
hands
good
makes
wise,
; other-
been
is
and
touch, which
; which
require
young
frequently
I shall,in the
and
movement,
to
amount
never
will, for the
we
your
incorrect
Moscheles
and
Buffalo,
aside.
nonsense
and
Mr.
; but
on
will
has
like
teachers
to
Song.
Clementi, Cramer,
your
Such
and
to
passing
quietly, and
to
the
the
to
thumb
correct.
Conversation
A
easy
position of
with
the
each
day,
to
the
I
scales
for
require
to
Solid.
I shall
piano, with
hand
one
with
or
circumstances.
stiff
of the
with
This
fingers,or
hand
be
I should
weeks,
until
two
this way
with
do
to
afraid
that
never
been
touch
also
the
exercises
has
give
up
practised
We
with
this practice
ranged
pieces,suitably ar-
his
be
tedious
in
in
not
my
drinking-
are,
perhaps,
; but
I have
lessons.
my
to
minuet
present, have
You
tedious
except
and
will, at
present,
been
for two
you
example, Mozart's
might
considered
for
beginners
slight change.
combine
Beethoven.
all this
you,
pieces or
pieces.
with
structure
be
with
some
three
or
; for
piano
similar
or
I have
fingersacquire strength.
day
study of
that
young
should
flat,arranged by Schulhoff,
nothing
must
hour
daily for scale-
ruined
or
very
scales
time, I would
for the
better
For
in
every
short
the
wish
the
continue
but
a
song,
an
hands, according
time
unpractised
fingers,the
only piano,
in E
content
played, according
both
short
educate.
to
weak
After
be
quarter of
a
practice is sufficient,provided, always,
no
35
discretion, staccato^ legato^fast, slow, forte^
my
to
Mrs,
But
arm.
practice of
which
with
practise any
presence,
thoroughly established.
for
entirely,
previous pieces ; for they
a
would
I
until
You
time, playing your
give
you
oppor-
a
Piano
36
fall
tunity to
I shall
in
also
teaching
of
all
facility,
They
it
a
studying
ready, flexible
Hunten's
for
to
practising
this
play
to
and
pieces,for
or
preaching
Melodiques
Etudes
;
more
advanced
piece
my
if
mechanical
three
these, I aim
or
of
little later, one
of
from
or
his opus
pupils,after they
four
do
not
of this
play
able
are
especially at
the
the
to
give
it every
day.
deficiencies, changing
In
;
92,
opus
description as
months.
740
never
daughters
three
they
They practise pieces
for
two
one
correctly,his Toccata,
which
playing,even
a
}
instance
beginners, perhaps
easilyand
stretch
every
panion,
com-
faster ; for without
Czerny's very judicious Etudes
up
before
a
learn
to
you
teaching
what
But
For
Dominie.
a
fearless
a
quite mechanically, two
fingers,my
Solid.
Mrs.
"
the
valueless.
will be
and
in
piece as
of music,
piece
new
this
day,
necessity every
times, first slowly, then
three
maxims
be
gain
I wish
support.
your
shall
may
regard
if it is done
piece,even
of my
appropriate piece,that
they
must
friend,and
or
pupils
my
perfect mastery
consider
playing.
viz.,that, merely for the acquisitionof
;
confidence.
of
faultymode
into your
playing daily some
its
by
Son^.
put in practice one
soon
mechanical
habit
again
and
a
edy
rem-
them
selection
of
practice of thirds,
Piano
38
beautiful
the
and
good
recognition.
No
has
of
and
Paris
example,
is the
show
Clara
Wieck
she
had
Wieck,
her
sister Clara
present
treads
relentlessly
upon
the
incredible
lamentable
of
errors
for
that
there
great deal
particular;
Uke
daughters
Dominie.
time
is
mere
when
the
?
take
and
a
yours
The
which
book,
follies and
quite
pared
pre-
to
their
to
suggest
have
good
given
who
you
selves
them-
are
fortune
very
to
have
educate.
to
given
do
pains
in the
you
themselves
a
by
that
mean
right way,
is all labor
great deal
.?
at
or
Of
in vain.
unskilful,stupid industry?
For
teacher, in order
a
fingers and
she
does.
am
of trouble, and
What
place,it
I
who
teachers
it is not
Have
of trouble
not
but
mired
ad-
been
kind.
like
should
other
are
a
do
I
times.
of any
opposition
Solid.
Mrs.
the
was
because
my
case
many
remember
us
with
same
truth,
despised, or
Marie
play exactlyas
not
new
any
the
can
let
until
Leipzig
nor
;
and
age
magnetism.
in
appreciated
in
Our
this ;" for
homoeopathy
uncontested
offered
ever
being attacked, defamed,
proofs
does
obtain
fearlesslyspoken
entirely misunderstood.
not
Smg.
never
one
and
improvement,
without
and
wrist, and
to
the
correct
If
the
they
right
what
use
instance,
stiff use
of
general faultytouch
A
of his
with
Conversation
pupil,gives
hand, and
it is
a
proof of
thrown
of
been
the
successful
been
to
to
have
rousing
jealousy,pride,and
offended
possible
as
to
effort is abandoned.
"
educate
to
art
such
contrary
This
to
clique. Lichtenburg
no
things
be
a
subjected
to
to
my
pupilswhom
amateurs,
three
I have
just
It is
publicperformers.
these
been
The
able
to
to
belong
those
should
I have
made
accusations, with
all the
educate
great number
must
no
even
just
circumstances,
justification.I
the
false
as
that
agreed
daughters, and
and, according
for my
is
"
investigation."Well,
thorough investigationof
regard
:
says
as
it almost
it is common,
as
everybody
Envy,
requires
theirs,that
is
have
last
at
it
and
tried
thoughtful people, who
and
which
upon
that
assertion
educated
have
this ; but
as
with
I
it.
guiding
egotism
experience
to
father
a
talent, and
say
talent
of itself."
comes
and
They
for
me
and
dispute
It has
daughters.
my
had
in
long
it is labor
imperfect mode
the
they certainly have
teacher:
it,
over
worse.
regard
fortune
left
the
trouble
makes
only
piece
a
for
and
with
their
unwearied
3^
or
pains-taking;but
performance
now
^tude
abundant
away,
And
Solid.
arpeggios
and
himself
gives
Mrs.
wonderful
some
stretches
great
with
talented
for
good
for
good
of these
fices
suf-
add, still further,
Piano
40
that it is exactlythe
of
pupils
desire
talents
abortive
the
just
are
destruction
by
Mrs.
Solid.
Dominie.
I
to
daughter
your
vanity
my
and
to
me
been
my
very
improved,
to
envy
were
the
urge
in
a
adverse,
short
musical
and
I
time
three
touch
other
I
;
do
not
not
at
teachers
I
present
four
or
or
have
have
any
impute
stances
circum-
all events,
accomplish
good,
plying
re-
what
possess
unless
have,
and
of
might pardon
follycould
to
a
read
if I should
after
If
might justly
to
Nevertheless,
acquisition of
foundation, which
and
serious.
if,instead
you
you,
ability.
offence.
able
pupils
Emily
an
as
be
; but
subject,or
which
magic wand,
been
daughters,
superior performer,you
a
as
years,
should
the
on
have
you
Leporello'slist,you
I
you,
that
cannot
you
exaggeration
an
written
have
teem
they es-
highly than
more
three
your
Madam,
it
consider
;
public performers.
declaim
to
were
only
for
others
none
it is said
But
educate
to
irresistible
an
others.
salvation
able
tude
multi-
Talented
!
discretion
themselves
by
the
at
have
own
foi
singing,or
geniuses
who
their
for
around
and
ones
left to
be
to
"
careful,thoughtful,
most
Look
prudent guidance.
and
Song.
great talents
"
require the
piano, who
the
and
at
thus
for
my
least
laid
failed
to
an
a
do
Conversation
A
by
their
you
have
method,
Solid.
else
You
for
Solid,
tuososy when
of
method.
your
mind
?
on
I
But
educated
was
capitalof intelligencea
can
educate
you
yourself are
you
41
want
opposition, negation,
How
criticism.
Mrs.
anticipateme.
in that
in Berlin, and
prevails
rather
or
something
Mrs.
with
and
thorough
artists
little
so
taste
vir
and
virtuoso^
a
e
You
not
are
even
A
give
vent
fugues,and
cannot
of
if he
his
to
and
and
calculate
can
double
and
triple
You
retrograde canons.
pupils
your
is
greater
concertos
if he
in
puntist.
contra-
much
plays
genius
accompany
flute, which
or
wins
himself
in inverse
even
music
things, and
pretty
composes
01; learned
composer
teacher
consideration,
and
a
certainly
very
with
the
lin
vio-
useful
and
improving.
efficient
the
instruction
Even
case.
the
egotistis
The
Dominie.
teacher
has
a
child
a
sole
and
bears
good fruits, the
I will
say
nothing
time
are
into
eye
to
latter
about
the
of
ing
givof
nature
perceive whether
its interest, or
view.
very
h^
former
The
doubtful
stand-point
ones.
of those
whose
first
aim
is
to
bring
prominence,
and
who
at
the
same
egotisticalteachers
themselves
soon
in
capable
lies in the
that
will
aims
other
personal
:
seldom
perhaps travellingpublic performers
and
Piano
42
They
composers.
double
with
the
of your
brother, Mr.
chapter,
and
feeling.
While
which
train
of
as
milch
a
;
You
pupils.
they
and
sacrifice
for
a
availed
method
which
for
describe
with
was
very
no
a
I have
I
had
not
inconsiderable
my
daughters.
terms
disputes ;
with
every
passion,and
"
of
time
teacher
personages
the flute.
expedients
few
pupil, and
went
time."
on
They
a
with
;
;
I will
interesting
on
musician
his
their
ment.
greater punish-
city,while
The
of
money
opportunity to
an
thing
in
the
learned.
never
sons,
les-
occupation only
those
a
gentle, quiet, mild
good
of
and
customary
of the violin and
myself
third
piano
their
the
no
you
that
taste
agreeable
amusement
your
incidents, which
a
speak
never
I have
it is
I will
now
wish
could
yourself:I
And
try such
may
to
obtain
and
sanguine parents,
true
their
thought, they regard
in my
of
the
like
fruitless
their
quite foreign
are
edge
knowlAt
touch
Strict,mentioned
pursuing
cow
a
possess
utterlydevoid
are
this
foundation.
musical
correct
inverted
more
consider
they
time, they often
same
be, chieflyoccupied
triplefugues (the
and
only
Song,
it may
are,
learned), and
more
the
in
and
witness
journey
the
he
flute
was
indulged
on
in
out
peaceably,with-
both
twittered
tenderlyand
the
of
hard
hearing, a
the
who, of
and
tones,
you
think
:
of it ?
"
it,for the
I
will
of this
a
was
assumption
a
17 and
presumption, vulgarity,and
how
understood
of
no
interest
tone
; he
then
tried to
in
a
possessor
make
parents
a
consideration.
certain
In
24.
this
as
a
nothing
in
the
portraityou
piano
of
only for
Beethoven.
a
spider-likefashion
the
quently
conse-
few
was,
violin
the
have
men
speci-
a
Of
course
piano-playing,and
rubbish
out
by
Beethoven's
teacher.
Wieck's
sprawl
His
piano, in
pression
im-
He
played
and
an
He
extraordinary abihty.
cared
successful.
to
their
and
pupils
good musician,
understood
The
violin.
tension.
pre-
of
of the violinist
he
no
type
in accompanying
tolerably
opus
praised
the
enjoyed
moreover,
and
do
to
his
on
what
next
and
coarseness,
piano,
made
and
aunt,
soft,flute
square
head
my
modest
was
which
old
The
exquisite?
that
not
I nodded
music
pass
Is
"
me
was
by Kuhlau,
little of the
but
in celebration
who
aunt
light, thin, modest,
the
kept asking
old
an
of both.
hear
43
playing,
sonata
power
could
course,
Solid,
Mrs,
were
of
birthday
quite within
was
and
amicably,
of
rather
with
Conversation
A
took
beauty of
about
He
now
and
ing,
examples of finger-
; but
they
pupils also possessed
were
the
seldom
peculiar
Piano
44
advantage
of
playing
fast
in
the
stick
he
about
pupils did
His
"
in
short, pounding touch
the
with
keys
violin
the
after each
I not
ridiculous
Solid.
furnished
me
in
But,
listen
I
to,
certain
of
am
to
Dominie.
they
talked
Europe
with
among
resolute,
tone, but
no
better
have
1
peculiarly
a
about
the
might
and
;
heard,
Am
"
"
shown
; for
I
were
the
two
up
should
and
like
not
and
Those
you
at
report
to
every
to
one
banker's, Mr.
the
your
to
you,
what
at
the
Gold's.
I
answer,
is
I
been
said
will
in
clique,who
numerous
a
are
labors.
people
my
have
example
an
hear
your
study
with
have
you
of which
otherwise
to
very
that
criticisms
might
supplying
you
it to
glad
very
with
here
though
opposed
if
I
soiree, perhaps
as
and
ridiculous.
need
danger
next
heard
I leave
; but
True
Mrs.
in
times
figures.
themselves
stand
had
certainlyhave
You
Dominie.
make
in
first teacher
Solid.
Mrs.
they
floundered
we
not
such
severe,
certainly had
performance
the
At
did
instillingrespect.
way
therefore
was
they
of boldness, and
They
elbows.
jerking
that
; and
sort
a
and
jingle,but
not
when
places.
cross
very
precision ;
"
time,"
in
"
difficult
became
always
Song.
and
would
more
wisely,
in which
I will
act
writings ;
Piano
4-6
The
of
theme
of these
Italian
pains
great
possible,and
will
of the
iocs
of
execute
it
is
the
delivery;
is
an
introduction
to
may
you
Perhaps
list : I can't
be
that
the
approval which
Emily.
Dominie.
my
that
theme
it
touch,
in the
"
formance
per-
well-taught pupil
interest
begin
the
A
Do
to
seem
final result
the
at
beginning
:
piece.
shall
we
will
take
that
great
many
restore
to
the
things
misplaced
you
will
at
me
:
it,
the
I desire.
always give
you
descriptionbefore
an
The
use
delicatelyshaded
the
tell yet when.
instruction
my
theme
not
Dominie.
in
clear and
do
But
Emily.
there
correct
recognized."
be
may
simple
a
of thfs
yet tender
remember
must
the
difficulties ; but
J
for you
of
a
and
dampers.
mechanical
and
good portamento
you
finelyas
as
production
requires a loose, broad, full,and
a
and
effect upon
careful
the
basis
thoroughly learned,
in the
raises
offer great
chosen,
singing
a
is the
well
piece
singing by
pedal which
not
to
greatly aided
be
imitation
the
which
song,
produce
to
piano-forte.After
you
Song,
variations, is very
take
must
the
and
you
I like
in the
principles and
to
begin
do
so
piece,and
views
a
such
about
preliminary
piece with
; for
to
a
state
a
I wish
in
music
pupil ?
to
create
connection
and
piano-
Four
Now
playing.
slowly ;
and
last bars
at
once
and
will
we
then
the
the
fully;
out
order
not
of the
for
but
to
interfere
We
left hand
the
from
carefullyobserve
given
for its
the
prejudicialto
a
up
good
deal
scales, and
with
the
is
to
evenly enough
might
as
and
the
species
for
for
not
and
left hand
is inferior to the
every
of touch, and
not
sufficient
taken
with
the
correct^,
the appropriate
wish
both
the
treble.
have
we
is
bass
in the
under
with
are
execute
thumb
do
you
which
beginning
yet strike
with
these
the
first variation
do
; for
I
portions
careless
a
playing
these.
accustom
your
at
to
try
end
an
of time
different
for you
you
at
passing
practise the
best
very
now
exercises
and
clearly;
activity
In
directions
this
there, in
few
a
finale.
the
performance,
thing correctlyand
lesson
the
and
take
most
write
spontaneous
also
duction
intro-
the
fiever
it here
clearly
the
study
the
theme
very
from
I
the
will
must
My
it.
with
the
played
and
intimate
only
learner.
variation, with
take
right hand,
for
fii^st quite
theme,
be
will then
appropriate fingering
47
introduce
should
We
the
only
try the
of it,which
end
smoothly.
Lessons.
first easy
which
and
more,
Piano
you
hands
yet
gether,
to-
skipping
bass
precision ;
and
yourself to inaccuracies, especially
has, as usual,
been
right in lightness and
neglected,
rapidity
Piano
48
shall find
We
not
this
Therefore
last
quicker, at
fresh
be
into
led
stiff touch, and
of
and
that
for the
and
the
true
of the
treatment
the
for
:
need
in
that
piano
;
way
a
you
weak,
a
keys
like.
in
play
not
the
not
beautiful
and
always
style,with
do
also
hands
day, and
striking at
I
and
continuously;
too
tramping
a
straightfingers;
look
times
again, some-
of the
pedal
habit
a
slow
present, you
the
with
fortissimo,or
might
At
energy.
slowly, then
not
course
forced
will
ent
differ-
very
and, first of all,in
dominant
various
with
wrist
careful
;
and
in
Transposition
in
chord
of
kinds
;
attention
first and
strikingand
three
;
to
the
on
practice of
the
their
measure
cadences
in the
a
from
character.
Lesson.
Second
with
We
clear, unaffected, healthy performance, free
any
is
first
when
never
in the
times
object
legato,piano,
fatigued,therefore
fingersare
many
fast ; then
; but
the
practise correctly.
to
sometimes
loud
moderately
; for
passages
very
staccato,
with
but
these
play
Song.
hindrance
a
practise much,
to
but
and
the
and
third
triads
practice
touch
dominant
skipping
the
in
value
loose
nant
sub-domithe
variations,with
of
the
notes.
in
these,
and
and
bass
of
theme,
practice
leaving the chords, observing
precise
and
positions,and
correct
a
of
You
fully
care-
must
Four
also
attend
Piano
them
striking
to
Lessons*
49
with
too
feebly,and
take
special
the
fourth
fifth
fingers,which
and
the
give
three
with
tone
crescendo
nicest
the
take
have
already acquired
exactly
the
and
mastery
with
the
should
usually be given
played
with
for
well
that
alone, in order
sound
tones
go
pretty
evenly.
with
well
hand
right
hand
slowly
gave
you
the
over
becomes
the
for
the
the
adagio
practice the
; but
part
for
which
bass
me
hand.
As
the
must
be
it will
be
part
once
all the
will
with
a
You
right
the
I
right
portion from
also
may
for your
hand
times,
which
passages
When
in
right
your
several
now
I recommend
it
play
together ;
fatigued,take
left
you
will
whether
introduction.
little
a
which
chords, which
produced.
to
will
We
requisiteshading
faster,the
then
and
from
finale
hands
yet tired, play
is not
first
hand
both
it, the
well
first variation
the
be
can
hear
may
Now
of
increasing mastery
the
you
pression,
ex-
forte, as
flexibility
; but
the
with
correct
we
:
bass
practise first
to
and
staccato, and
delicacyand
you
the
diminuendo.
a
other
theme
variation, of
first easy
tempo
a
the
as
to
easily
not
try the
piano
and
then
regard
do
sound
a
consider
the
likewise
and
care
will
we
together, and
hands
both
as
Now
fingers.
full
so
forciblyor
too
not
in
the
try
special
third
Piano
50
variation.
if you
You
do
not
play
I heard
I
the
the
theme
famous
the
fingering
to
nice
high, in
too
of
connection
singing
lesson
tone
will
you
I
...
far
as
the
and
to
produce
theme
time, slowly,and
it with
do
course
thing
exercises
with
the
Lesson.
shading
; the
to-day with
You
will
observe
for
that
always
must
Of
weariness.
all the little
notes
fourth
fifth
and
cadences.
Other
one
little exercises
hand
alone
skipping basses,
the
you
for the
tomed
accus-
through,
gone
with
touch, and
frequently
triously
practise indus-
have
practise ivithout
still
go
quite
will
; but
never
rassment,
embar-
It will
it
a
more.
much
become
we
first variation
for the
fingers,and
Third
which
once
play
the
of the
end
me
too
addition, you
interest, and
you
the
to
if you
that
especiallythe
At
with
during
every
avoid
and
tones,
days hence,
In
see
injure
two
it.
You
to
better
to
keys
freely enough.
not
it.
not
play it
perceive you
and
the
I
order
possible.
as
play
the
upon
Now
possible as
as
sing
it,
if you
indicated.
Rubini
tenor
about
fast, and
nearly
as
you,
place the fingers gently
raising them
mistake
a
it too
play
to
try
Song,
make
cannot
carefullyobserve
will
and
bass
often
are
both
will
second
even
scales
trills,
for
We
"c.
part of the
there
and
;
gether
to-
begin
variation.
eighth notes
Four
In
notes.
together, even
with
it is necessary
that
free
perfectly
bring
and
the
out
only
the
occasions
to
eighth
the
my
you
must
you
learn
must
both
in
restless
inaccuracies
in
playing.
for
but
with
may
last
to-day ;
the
not
whole
Lesson.
each
the
how
triplets
in
moves
even
listen
little
as
possible
independence.
own
variation
about
as
entirelyby
but
must
we
it,and
must
give
urging, all hurry, leads
You
have
play
may
of
have
you
New
for the
custom
ac-
hurriedly,
the
learned
other
stopping
to
enough
variations,
finale, straight through, that
which
stretches, and
and
Notice
together ;
get into the habit
passages
Fourth
you
shall
must
in
triplet,
of
a
left hand, I will
hurry
All
You
notes,
which
this
hands
a
and
too
triplet,
your
play
it.
to
acquire
play the
preserve
to
much
be too
time
shall
little tone.
too
right hand,
playing,and
yourselfwith
not
of this
While
notes.
properly
correctness,
weak
give the
to
with
play the right :
You
mechanical
any
let
trip-
even
perfect ease.
with
last note
to
are
play these
to
this equal playing
difficulty
much
to
there
independent movement,
bass
sharply, or
too
51
left hand
the
yourselfnot
bar, and
bass
order
special attention
pay
Lessons.
in the
in the treble, while
eighth
Piano
at
the
you
cult
diffi-
already learned.
exercises
extension
for
of the
striking
hand
and
Piano
52
this must
but
fingers;
shall
lessons
; but
that
people
I
portions
and
the
to
to
does
express
the
of
the
at
regard
to
this
;
also
sound
very
there, because
was
in
view.
the
it
next
right.
of
I
mastery,
expression,
at
little
slower, though without
your
then
a
; do
place
any
understanding
at
must
own
grows
the
for
not
like
I should
Very
; it will
crescendo
intense
more
will
once
me
ask
way
proposed
a
I suggest
diminuendo.
lesson, you
little faster here
those
a
opinion, and
place
show
in
If what
your
but
now
other
You, perhaps, do
so.
This
the
shading
to
feeling
the
to
think
;
acknowledge
play
a
very
strikingritardando
you
at
like
To-day,
pedal.
finelyin
well
I will
feeling,
you
place crescendo,
only play
perhaps,
your
certain
to-day begin
acquired
the
to
ing
preced-
a
beginning,
have
of the
use
the
regularity,and
time.
good
tance,
impor-
this,the
introduction.
want
you
of my
well
I
will
difference
your
reason
that
We
correct
piece,or
play
with
entirelycorrespond
not
of the
the
played
begin
with
Besides
be
which
you
first
all
give particularattention
will
we
of
the
in
all in
but
;
of
learned
to
the
prudently,that
exercises
with
can
done
endangered.
for my
amends
Song.
always
delicacy.
beginning,
make
to
the
and
shading
you
is
be
not
repetition of
the
be
touch, which
sound
and
it
ought
;
tu
Piano
54
and
lazysubterfuge of
the
teachers
in
wanting
old
in
their
But
proceed
us
already play
and
to
which
try
You
four
the
play them
one
very
delicate
variations
various
and
of
other
in
make
two
final sixteenth
notes
distinctlyand
effect,as
of
any
first,in
is done
this
ornaments,
nicelyexecuted.
are
kind,
the
second
the
dominant.
which
passing
shakes
; but
order
is
part,
that
you
the
are
give
to
With
by singers.
case
should
passage
it is allowable
The
modern,
and
clearly,
provided they
You
interest
the
it,perhaps, with
the
they
and
instruction.
your
fermata
may
than
weaker
with
appropriately to
combine
it ; and
is written.
upon
lead
shall
pedals,
to
perversions.
If any
the
at
you
order
execution,
two
without
and
affectations.
occur
In
with
piece intelligently,
your
enthusiasm,
empty
the
inconceivable
let
affectation
unendurable
of
with
is less
else, which
or
mode
upon
either
and
manner
a
out
with-
and
They
monstrosities.
indistinct
themselves
guilty of
obscure.
with
strut
with
of
hear
and
see
young,
touch,
musical
produce
throw
and
and
miserable
bearable, they
conceal
We
entirelymechanical
an
faulty and
and
!
,
talent, renowned
play
of routine, and
followers
talent
virtuosos
great many
Song,
to
in
must
last
it
a
light
introduce
good
taste
quite different
in
Four
of the
performance
the
Piano
stricter
requires a
composer
this is sometimes
even
and
once
That
more.
bass
skipping
and
speaking
freedom
both
hands
play
can
you
will
I have
will
not
go
strengthen
the
of these
finely.
to
more
a
say
beautiful
be
next
two
or
Your
me
that
variations,and
play the
about
this
Etude
to
three
months.
will
will
learn
and
But
variation.
piece. We
fourth
the
careful
bass.
.in order
you,
companion
Emily
play the
I
by Moscheles,
your
very
To-day
change parts,
fourth
highly
may
lesson.
the
to
give facility
and
Solid.
assures
than
next
fingers: this
Mrs.
farther
I
play
not
variation,which
next
will
correct
delicacy
need
alone, while
we
recommend
I
during
bass
while
much
not
begin
which
You
the
briskly
certain
a
second
treble
the
variation
the
perceive
to
in the
the
first
precision, more
treble.
afterwards
; and
treble
play
ation
exagger-
already play
you
until the
difficult,
first
point of
a
bass, and
the
together
most
may
you
in
:
more
the
to
try the
begin
in
tone
and
we
We
evenly.
is the
Now
is better
with
for the
reverence
interpretation,
although
carried
pedantry.
55
compositions of Beethoven,
others, where
and
Mozart, Weber,
Lessons,
mode
fifth
and
and
to
friend
of instruction
acquire a mastery
to
perform
them
Piano
56
Dominie.
this
and
of
; while
their
begins
in
until
in
stupid,helpless way,
several
the
pupil
and
correctness,
is
without
and
in
that
is conscious
he
a
with
Mrs.
every
Do
and
Dominie.
he
more
piece,and
few
a
short,
his
and
}
success
same
time,
piece nicely
one
accomplished
course
principle.
same
are
take
same
pieces }
the
a
than
them,
the
pursue
But, if you
touch, it will be
while
}
difficult
always
once,
the
it is all
while
you
make
at
in
at
play
can
Certainly,on
Solid.
the
perhaps
or
tries to
play
delight
pose
sup-
teacher
perfect freedom
with
take
obliged
are
the
and
to
children
people
worries
pleasant manner
Solid.
longer
and
enabled
bungling,
quiet and
Mrs.
to
afterwards,
when
Do
pieces
fault
well-sounding exercises,
or
it."
pleasure,when
continuallyfinds
when
that
"
piece, if they
a
swallow
and
it.
gives more
pupil
he
for
know
they
fidence,
con-
consciousness
untenable
a
and
abilityto interpret it
it
that
the
her
two,
or
satisfaction
own
awakened
interest
pleasure
practise it
to
her
objection is quite
The
lose
of
week
a
understanding
her
and
her
preserve
able, after
it to
play
its beauties
will
Song.
piece with
to
of others
that
will be
She
execute
to
and
so
particularabout
so
much
long
time
pains
before
to
prove
im-
Emily
Conversation
A
will be
learn
able
new
piano, in
jingleon
the
or
shall
grow
she
finelyt
mine
:
I
the
sure
has
made
will
have
you
may
observe
To
be
able
to
does
manner
to
attain
as
this
way,
I
have
begun
reading
at
pupils excel,
all my
under
enough
daughters
to
and
are
that, when
my
with
in
one
for the
by
imperfect
an
they
the
ter
bet-
or
five
rest.
studies, such
the
greatest
gradually developed,
have
instruction, and
to
that
of four
mechanical
Emily,
when
for
one.
every
easilyor
more
perfect mastery
pre-eminent.
continue
play
to
expectation
learned
with
is
an
dexterity in playing, as
fiftypieces
be
and
sight
with
quickly ;
more
yourself and
standard
In
t
it is
as
contented
and
a
off
a
musical
wish,
consider
justifythe
not
pieces gives a
be
more
with
fifty-first
piece will
; but
is your
must
acquired
drum
learn
to
quite correctly,the following
learned
she
can
by learning to play
beginning, by learning
a
be
become
to
latter
would
piece thoroughly and
pieces will
daughter
your
order
You
teacher.
57
long pieces and
musical
more
otherwise, you
ordinary
she
am
wish
you
to
Solid.
beside.
ones
Do
Dominie.
Mrs.
several
execute
to
other
with
But
ease
in
which
remained
in
in
which
for this it is
long
my
essary
nec-
ously
study singlepieces,industri-
and
artistically,
with
great
exactness
; for
Piano
$8
otherwise
often
the
to
in
Mrs.
to
to
soon
very
and
which
sight,
at
leads
piano-playing
Solid.
a
style
I
of
no
good
and
of
art,
or
more
less
or
of
which
such
is
without
at
cause
of
a
illogical,
method,
least
can
talents
;
the
piano-playing,
prevalent
mode
and
and
false
present
are
of
mittent,
inter-
lead
factory,
satis-
nothing
to
manifestations
eccentric
which
convinced
more
extraordinary
condition
deplorable
and
more
and
with
unsound
am
instruction
result,
even
the
reading
passion,
a
superficial,
to
of
machine-music.
vulgar
that
Song,
practice
amounts
slovenliness
and
the
instruction.
that
catures
cari-
and
sequence
con-
On
the Pedal,
CHAPTER
ON
I
just
HAVE
from
the
a
THE
PEDAL.
exhausted
where
concert,
pedal continuallyraised
succeeded
by
the
which
of
notes
soft
a
thirteen
the
It
fortissimo
that
at
tones
was
the
Cruel
fate that
their
and
sense
!
bass
time
the
of
aid
the
sounding.
re-
the
cert
con-
could
ears
confusion
this
represent
invented
raises
the
the
of
pieces by
two
Our
on
modern
piano performers
of
hearing !
}
Alas, it
buzzing
pedal
dampers
grand acquisition,indeed, for
heavens
quivering
all
that
during
Thalberg.
which
pedal
to
meant
and
Dohler
conclusion
and
the
suddenly-
were
tortured
my
with
passage,
were
only by
was
programme
arrive
murmuring
convulsed
bravoura
off,
then
; and
ing'
hear-
been
grand
thundered
been
lated
annihi-
and
have
I
Two
pounded.
have
movements
V.
returned
piano
59
What
is
only
! I
the
is all this
the
piano.
times
must
the
mean
!
have
A
Good
lost
growling
groaning of the
6o
Piano
and
piano-forte,
upon
wretched
virtuosos, with
on
pedal incessantlyraised,
use
self-assertion
then,
this
Unhappy
But
the
used
of
the
this
pedal.
grand playing, often
use
been
of the
had
course
a
He
was
at
it beautiful
bar
every
?
effects,which
lost fine
the
instruments,
much
it to
strength
although
and
the
others
then
frequently with
and
for
sweet
the
elasticity.But
and
fall
changes
frequent ;
depth,
judicious
of the
where
very
would
use
treble,in
not
not
instruments
the
Graff, and
The
tone.
always allowing
cases
and,
;
usually lightly leathered,
were
thin, sharp
and
correct
Conrad
Hummel
though
neat,
especially desirable
not
into
does,
:
extremist
an
precision, was
were
think
jesting.
pedal ; particularlyon
which
use,
the
brings
beautiful
use
serious
produced by
of Stein, Brodmann,
in
time
graceful, clear, elegant,
his
have
into
pedal
with
satisfaction
inward
revolutionist
is
him,
piece,
is far from
that
long hanging
deserted
Truly
ern
mod-
delusion.
enough
never
has
with
"
!
raging piano
bring
to
in
deal
great
a
and
bravoura
a
of the
one
beard
hearing
blustering away
vain
which
heavy
a
locks, whose
and
Song*
in
of the
the
tone
and
the
upper
harmony
of
those
agreeable,
action
on
pedal, of
had
our
but
had
little
instruments,
Piano
62
You
all
the
use
construction,
at
least
with
You
You
not
frequentlyyou
for the
Try
few
a
in which
each
other
playing
rooted
often
that
you
use
serve
as
first
of the
the
pedal.
you
instance,
harmony
succeed
highest treble,
"
enjoyment, what
delicate
your
know
try
habit
for you
with
shading
when
so
the
how
highly
performer,
His
here.
deeply
and
that
and
widely
boldest
which
is
feel it in
to
is
Chopin,
for
;
the
and
mental
funda-
is essential,certainlyrequire the frequent
bass
But, if you
the
composer
striking suspensions,
use
for
listen,and
dispersed,artistic harmonies,
most
;
performing.
are
serene
; for
model
tone
listening
are
"
longer
a
what
to
pedal,
in
gifted,elegant, sensitive
may
who
pieces you
no
you
stringing,
frequentlyenough,
hearers
what
of others
new
play for yourselves alone
changes
at
of the
heavy
listen
afforded, what
Or
out.
often,
too
vibrating
must
without
repose,
is
their
it fall
rapidly,even
refreshment
brought
to
the
to
the
what
see
the
play
passages
those
and
do
first time
and
pianos
concert
let
not
precision.
playing.
much
too
fuller,more
a
do
you
Song,
with
which,
in themselves
and
are
pedal
large,fine
especiallyon
have
and
of
the
examine
directions
in
pedal
and
his
for
fine harmonic
observe
the
effect.
cal
minute, criti-
compositions, you
can
obtain
On
from
him
correct
the
of
way
pedal, we
almost
my
will take
a
walk
nothing
but
chords,
without
but
for
pedal
piano, which,
It is
the
of
grand
a
"
off with
the
"
in
the
a
the
few
from
frantic musician
pedal
the
d
who
is
next
this
on
!
tune
peculiar style
title
raised
sharp
"
of
On
the
the
sane
In-
through
Finally,
and
moans
resound
bars, and
soft, delicious
open
the
6tude, with
"
creaks
exhausted
the
varied
;
of
Fancies
pedal
warm,
slovenly
;
of harmonies.
sharp, d,
c
c,
different
out
a
the
"
changes
snap,
applause
is the
with
pounded
through
away
and
or
strings
sadly
is
of
into
is,a long,heavy
Hades,"
conclusion,
die
is
passages,
marvellous
most
it
generally
thundering
a
In
"
or
;
the
that
"
hear
we
pedal
escape
way,
composition, probably
Ocean,"
the
the
by
streets
touch, relying upon
will
on
is
pause
raised
! what
involved
most
confusion
the
We
horrors
It
!
close, without
by
the
is it that
playing
continual
weight.
Oh,
street.
and
Unquestionably
stiff,weak
empty,
an
?
what
screened
passages,
by
house
a
nice
lecture
through
What
evening.
piano-playing;
the
sorrowful
to
every
for
pedal.
episode
beautiful
some
in
of the
63
instruction
complete
use
By
the Pedal,
windows
venting
at
air.
!
his
But
rage
;
gether
to-
last
versal
Uniwho
or
Piano
64
this
It
piano?
lately
composer,
who
of
what
at
the
we
'"
Hdtel
is
a
Parisian
arrived
just
has
de
Schmerz."
to
of
letters
giving
been
hear
travelling
other
or
with
expect
may
Song,
and
a
dation,
recommen-
rehearsal
little
shortly
in
a
concert
Sentiment,
Soft-Pedal
The
VI.
CHAPTER
exclaim
You
soft
for the
of
long
time
!
is
right ;
the
strike
only
the
with
seized
follows
tune
way
! I
our
have
for
in
strings, knock
perspire,stroke
"
the
the
the
the
on
a
the
hammers
the
and
performers,
hair
bars,
off
hammers
out
with
put the
first twenty
of
der.
ten-
more
Many
of runs,
some
is made
tone
play a grand
away,
moved
thereby
clatter
fearfully,
bang
piano
strings, in
this ?
octaves
seven
is
singing
more
themselves
through
of
that
from
left
playing,
piano madness,
a
constantly raised,
out
in
concert-room
three
the
In
one.
piece, excite
down
of
thinner, but
What
key-board
that, in
so
two
pianos only
weaker,
a
the
foot-piece to
pressed down,
to
sentiment
in
thing
a
kind
"
the
When
musical
sentiment
a
"
of any
sentiment
a
all, a
of such
heard
that ?
is
What
"
:
pedal !
tinies ! m'ost
not
SENTIMENT.
SOFT-PEDAL
THE
65
"
their
their
bravoura
up
and
the
pedal
best
piano
snap
the
bearings,
eyes,
ogle
Piano
66
the
while
to
seized
with
a
are
to
a
piano
with
one
the
what
a
love
they
content
take
still
soft
what
tinklingof
the
They
longer
no
soft
the
murmuring,
bells ! what
enraptured by
!
pedal
Oh,
resounding.
and
The
I
what
of feeling
tenderness
soft-pedal sentiment
a
into tears,
is
pedal
denly
Sud-
sentiment
pedal, they
loud
! what
themselves.
pianissimOy and,
or
languishing !
sweet
Song.
make
audience, and
come
and
fall
ladies
pale,long-hairedyoung
artist.
I describe
has
the
here
just passed
in
the
a-
this
but, after
heartless
which
was
resulted
few
a
carried
in intellectual
aL
a
period
and
could
this
point
death.
a
and
true
excellence
only
to
such
increase
of
delicate
mechanical
lieve
be-
to
in
When,
piano
attained
increased
power,
fail to
be
called
into
degenerated
of
the
fingers,
absurdity
Instead
of
the
tone
to
on
of
admit
which
shading,
and
aiming
beajciful, full
performance,
it is
order
dexterity of
the
dnngs,
not
rich-sounding instruments,
much
in
which
which
follies.
such
years,
to
piano mania,
century, the
worthless
and
acquire,before
these
skill
of
through,
excellence
conspicuous
;
so
lived
of
greater technical
out
crisis ;
possibilityof
the
beginning
such
its
have
to
necessary
period
essential
object
and
facility,
to
to
was
culti-
The
vate
almost
and
unnatural
in
order
touchy
make
and
67
immcMieratelypowerful
exclusivelyan
to
Sentiment.
Soft-pedal
the
improve
to
possible
fingering
of
execution
the
roulades, finger-gymnastics, and
which
no
before
one
this
From
necessary.
of virtuoso
and
of
the
"
reflection,for
this
that
charlatanry is
applause
of teachers
It is sad
to
in
they
that
would
everywhere,
it
a
few
see
such
on
study
or
good piano,
is
as
of
are
possible
right method,
,
word, with
every
and
the
with
of correct
to
therein.
be
to
to
by
artificial formalisms
understand
now
of
equally base.
seek
pupils
and
senses,
studies, players
teachers
their
choly
melan-
solitaryaim
tone
improve
wise
Other-
that,
found
on
a
almost
correct
playing,
play,without
nal
exter-
aids, forteyfortissimo piano
a
a
their
composers
mechanical
erroneous
themselves
founded
"
the
in
panied
accom-
self-conceit,
retain
how, engaged
see
delivery,and
either
art,
is indeed
It
made
and
forgotten the
have
in
music,
ignoble performers, sustained
numberless
and
glittering
without
vanity and
all who
tion
introduc-
their
and
finger-heroes."
considered
the
with
substance
immeasurable
of
age
dates
period
stretches,
or
frightfuleccentricities
the
by
imagined
performances
without
tawdriness,
had
sages,
pas-
pianissimo^
"
^
degree of shading, and
with
in
at
Piano
6S
formal
least
more
the
and
absurd
we
brought
are
infancy
of
such
like
from
out
to
even
fall into
; and
virtuosos
the
a
tone,
get rid
listen
dozens
to
pedal
unworthy
the
will
no
But, instead
sentiment
with
;
longer
public
listen
to
are
able,
the
keys,
and
tinct
dis-
of this,
Le.ythey play with
intrinsic
with
faulty
broad, healthy,
shaded
delicately
performers,
artistic
a
plays
less
or
of them
softest pp.
can
otherwise
caressing of
and
by
cities
more
none
and
tormented
and
instrument
the
pretension,and
! You
they
cannot
with
thumping
beautiful
full,and
outside
the
concerts
another,
all their
bring
they
these
execution
mechanical
to
visited
which
inexperienced piano-players. One
exactly
with
of
(for
abundance
them), attend
piano performances.
and
an
of
unhealthy,
our
patient persuasion
obtain
have
tation
affec-
This
up
recommendations,
they
in
soft
the
public,drummed
good-natured
together by
of
proof
more
when
crude, unskilful,
speaking.
now
urgent
which
skill,sounds
pedal, especiallyof
unmusical
A
the
through
only gives one
stupid, and
style of
this
than
satisfactory
more
of the
use
of which
pedal
is
affected
feelingis
a
that
requisitemechanical
and
pure,
Song*
and
expression ;
playing,with
far
and
who
emptiness.
have
so
gusted
dis-
piano-playingthat
fine,intelligent,
sen-
Piano
yo
least
at
Song.
without
superficialcorrectness,
wounding
cultivated
a
mortally
and
by exaggerations
ear
of
maltreatment
by
and
instrument
the
and
its two
nevertheless
found
pedals.
This
its
which
has
of
said
be
to
"
and
admirers
of the
abuse
"
all the
in
rage
;
fine
a
justifyinsane
to
tury,
cen-
our
This
thing possible.
every
and
critics
piano
our
made
enslavement
senseless
has
playing
defenders
numerous
been
of
style
has
piano
expression
and
stamping
soft-pedalsentimentality.
far what
How
modern
errors
applied
to
singing,
and
to
relates
our
be
intelligence of
the
to
to
far it may
how
and
leave
I
them,
readers
my
in
said
here
I have
explanations in subsequent
my
chapters.
To
on
this
use
to
return
subject
soft
the
unsuitable
for
pedal
any
which
to
require
which
especiallyto
obliged
and
to
use
I
much
still
have
players.
and
be
the
pause
lightlyexecuted
to
be
noticed
instruments
stiff,
heavy action,
on
Even
of
; in
;
or
which
players
a
they
midst
played piano.
with
word
one
often, and
too
for instance, in
preparatory
are
be
:
rational
too
places ;
piece,without
passages
theme
my
at
of
a
melodies
in
rapid
This
who
powerful
is
are
tone
it is difficult to
The
insure
this
delicate
a
whose
sole
should
make
sensible
aim
is
be
raises
the
be
must
pedal
used
but
seldom,
dampers
is
with
the
only
be
may
slight
preceded
by
employed
throughout
must
slight
a
masculine
more
soft
pedal
with
out
pause
the
of
alone.
is,
the
with
stroke
chords,
tone,
of
in
the
be
then
should
be
because
to
the
this
three
again
strings.
in
which
allow
which
consists
slow
time
on
to
the
two
ear
tender,
the
to
effective
hammers
the
must
transition
most
moreover,
singing
the
before
soft
The
should
There
tone.
tone,
full
period,
it
but
;
gradually
sentimental
maidenly,
be
the
which
time,
same
and
pause,
itself
accustom
echo
pedal
pedal
nicety.
greatest
an
soft
the
the
touch
sable
indispen-
the
if
at
beautiful,
an
that
and,
teacher,
elastic
an
playing
used
in
used
a
of
For
forte.
the
of
prefer
I
and
and
true
style
^t
experienced
attainment
the
requirement.
should
piano
and
the
well-grounded
and
in
shading
a
reason,
Sentiment.
Soft- Pedal
usual
The
ments
move-
bring
tage
advan-
strings
Piano
^2
and
Song,
CHAPTER
A
VII.
AT
TEA-PARTY
MUSICAL
THE
HOUSE
OF
JOHN
SPRIGGINS.
I
of
ONCE
to
me
accompany
short
a
musical
a
prejudices ;
the followers
to
reprove
to
malicious
teacher
My
to
manner,
mistaken
routine
sound
of
dogmatic
to advance
to
object
remove
ideas
; to
opinions
scourge
scenes
invitation
an
correct
mere
in this way
; and
mindedness
to
;
to
of
cavillingthe
the
to
tea-party.
entertaining
and
common
very
readers
my
life,with
active, musical
my
is, in
introduce
more
oppose
an
perienced
ex-
narrow-
method
my
of instruction.
PERSONiE.
DRAMATIS
John
an
Mrs.
(Jovialand
Spriggins
musical
ancient
narrow-minded,
family)
Lizzie, their daughter, i-},years
her
Shepard,
Dominie,
Emma,
Mrs.
old
malicious).
{livelyand
pert).
piano-teacher {very laborious).
daughter,
Spriggins
daughter
of
piano-master {very stern).
a
his
member
.
{irritable,
envious, and
Spriggins
a
who
is
a
pianist {silentand
{to Dominie).
to
give a
concert
So
musical),
this
to-morrow
;
is your
}
She
Musical
A
less talent than
is said to have
With
her, they
herself
that
and
of
triumph
Mrs.
S.
daughter
neither
Have
is
what
Pray
read
ion
opin-
But
already
else
this
oughly
thor-
too
have
nor
in
instruct
them
shall
the
in
They
write
at
exhausted
with
loss of their
on
you
body
nine
are
health
; while
a
not
whole
all
their
the
open
they
air
children
are
schools
and
the
this with
joyousness of youth.
the
It is very well known
And
that
at
for
pay
I
literary
and
other
day
whom
their
that
in
private
a
with
hours,
obliged to
might explain
4
have
could
of age.
years
connection
hours
and
eldest
your
exercise
younger
your
fourteen
fewer
left for
obliged to play the
Dominie.
say
in order
occupy
time
institutes,and
in
music,
invigorate the
S.
?
house,
shall
have
Mrs.
sent
yet
My daughters always
teacher
education
not
you
school
to
Dominie.
are
the
mind.
your
to
held
education.
criticism
out.
daughter
: that
differently
yet both
musical
a
cheap comparative
worn
labor.
played correctly,
musically,
and
perhaps finely,
is the
daughter.
eldest
my
hitherto
I have
of them
both
eldest
your
ask
must
that.
about
25
nothing requires any
say,
You
Dominie.
Tea-Party,
that your
daughters
day long.
night
skill in
?
You
that
way.
too
ably
probI
am
Piano
74
astonished
have
you
and
me
that
Now
that
too, since
stories
shocking
many
and
(dismisses the subject^
S.
old is your
just how
is
She
Dominie.
about
daughter
sixteen
just
asks
suddenly).
Emma.-*
and
years
seven
old.
weeks
Mrs.
S.
Does
Dominie.
over
she
Oui,
tones,
all
heard
not
daughters.
my
Mrs.
so
up
Song,
have
you
picked
and
too,
the
world.
S.
But
Mrs.
elle
French
is
she
}
in musical
parle Fran^ais, and
which
language
a
"
speak
silent!
so
is understood
Does
like
she
play }
to
speak,
to
the
last two
have
You
Dominie.
is
she
her
given
forth-putting.
certainlynot
years
she
has
opportunity
no
For
great pleasure in
taken
playing.
S.
Mrs.
you
had
to
You
force
Dominie.
In
development,
other
pursued
obedience
years
her
to
the
she
as
unworthy
rather
acknowledge, then,
it ?
earlier
of
years
stranger
a
was
motives,
her
she
Does
habit.
-^^
always practise her
your
so
to
vanity and
certainly played, or
and
do
natural
her
studies, chiefly from
serious
being required to
formerly
that
?
daughter
Does
of thirteen
exercises
she
out
with-
like to go
Musical
A
school
to
knit
without
Mrs.
in
S.
love
children
Do
Dominie.
do
because
because
modest.?
and
S.
But
I must
not
make
much,
give
you
to
agreed
Mrs.
S.
tion
affec-
have
proved
and
blooming
so
such
fine
letters,
crooked
over
fected,
innocent, unaf-
so
will
Emma
with
is so,
her
of
But
advice.
Do
herself
exert
eldest
too
daughter.
Spriggins, it
Mrs.
very
good
your
subject.
that
drop
seems
well.
she
would
have
been
"
I can't tell
If she
you.
S.
had
now
It
played
no
use
at
all ?
That
yesterday. Well,
Emma's
with
is of
not
I said
exactly,as
satisfied
Mrs.
as
tion
educa-
this from
they
are
piece
{vehemently).
Dominie.
are
you
"
done
with
say
musical
grown
they
daughter
have
have
better
not
one
If that
Dominie.
I do
write
or
you
quite
are
they
the
they
{irritably).We
your
as
in
look
because
or
and
sew
you
But
they
have
they
embroidery,
see
!
suppose
because
healthy, or
I
infer it,because
you
artists, or
always
and, in fact,always.
;
you
"i
Mrs.
cruel
and
75
of it ?
daughters
your
of your
or
she
{interrupting). Oh,
with
or
Does
reminded
being
terriblystrict
are
?
day
every
Tea-Party,
state
to
of health
advise
such
you
?
people
Piano
j6
Dominie.
I have
business
as
artists ;
and, it
with
so
S.
play
to
such
and
that
the
at
Herr
hear
to
it,no
I
in
too
teacher
my
your
fingers ache
teacher
idea
no
to
which
the
is
with
be
in
advise
of time, and
as
us
Music
wife
played
played
once
I had
me
good
course.
family. My
I
daughter
so
play, and
same
told
hanging
his
you
Lizzie
our
on
great bull-dog')
will
the
her
raps
do.
never
parrot
Dominie,
continue
and
ear,
done
}
little,too, in her youth, and
violin ; but
I have
turning
{entering
is,in fact,hereditary in
a
for
hinty but
make
her
daughter
our
whether
to
strokes
and
Spriggins
Lizzie).
ters,
daugh-
formed
I have
acknowledged,
not
when
parlor^
John
to
it
Only
looks
{Emma
my
sel
coun-
of my
education
difficult music
knuckles,
the
be
must
to
daily taken
pupils whom
does
Dominie.
the
the
{not attending
But
Emma).
have
myseU
abihty.
some
Mrs.
devoted
always
about
of other
and
Song,
teacher, and
a
myself
with
and
no
that
the
on
talent
I
for
scraped
much.
Very
Dominie.
mistaken
!
John
S.
But
My
father
music.
I
curious
!
always
was
and
my
He
must
have
devotedly
been
fond
grandfather, on
of
our
Piano
yS
S.
Mrs.
Bring
Rosellen's
But,
piece by Herz,
Mr.
me.
He
says
I
Shepard
is
Dominie
}
Mrs.
but
and
forgotten
that
Are
Herr
I may
console
his
that
lessons
;
and
heard
me
est
strict-
very
acknowledge
that
take
be
and
ure
pleas-
the
case
gives
them
in
developed
it.
allow,
must
you
must
is evident
is
Mr.
strict,Herr
pupils always
my
thing
But
is the
thing
one
scholars.
have
you
way
myself :
way.
very
will not
progress
every
you
molo"
Tre-
"
the
other
my
Dominie
is
There
my
always
child,
my
the
is
with
(playfully)he
delight,and
the
most
way.
Mrs.
won't
S. (less sharply). We
how
pieces
are
to
they
have
long,
and
daughters
your
people,
them, while
without
says
same
Why,
their
natural
by Herz,
learned
not
That
strict.
"
because
have
have
finallymake
Spriggins,
in
but
the
so
Dominie.
Mrs.
I
Shepard
before.
"
I
yet.
shall
S.
so
say
and
always
was
"
Graces
Les
"
mamma,
well
very
it
Song.
"Tremolo."
Lizzie.
with
and
not
and
been
if you
my
bungling
have
Lizzie
?
able
obliged
cannot
that
play so
many
without
moreover
not
to
discuss
to
been
notes,
practise
very
all
cruel
;
if
day
with
play a single thing
Musical
A
Allow
Dominie.
fault of
S.
Mrs.
don't
No,
permit
It
Dominie.
that, but
It.is easy
does
teach
that
in
in
to
play before
eyesight. Don't
flats in the
John
S.
puts
going
:
"
and
The
and
:
her
so
Herr
her
connoisseurs
see,
play
you.
not
e
thing.
some-
with
in unison
and
ber
remem-
enters,
e
e
There,
"
:
I dont
on
on
j' with
begins
?
finger
it makes
you
see
must
exclaims
Shepard
me,
such
to
Pirates
strikes
tell you
Mr.
Pardon
Shepard.
her
I
now''
You
introduction
bass,
the
to
grandfather played
Lizzie
didnt
hastily,and
Ha, ha !
!
my
The
unison.
same
it
set
Shepard
flock
to
seem
cavatinafrom
a
mamyna,
only
we
entirely upon
depend
Lizzie, sit down
variations.
the
Mr.
our
honor, it is marvellous
such
Now,
chooses
flat
but
me,
unwearied.
pupils always
to
organ.
(She
excuse
on
not
my
forget,however,
the
must
reflections
Upon
talented
how
the
be
must
"
S.
John
! you
particularand
is very
he
79
"
no
any
it
madam,
me,
Shep
Mr.
Tea-Party.
steps up
flat^
Dominie,
I
will
little confused
a
;
she
Lizzie, there
loses
are
her
three
signature ?
Courage
now!
Aha!
Lizzie
can*t
Piano
8o
John,
him
take
(After the
far
removal
instead
S.
is
with
his
of c,
of
and
the
Lizzie plays
bull-dog,
when
she
strikes
as
sharp
c
that
he has
:
Dominie
it all
through
gone
children.
own
to the
at
eighth bar,
Don't
Shepard.
Lizzie.
it.
stops.)
{Lizzie begins again
on
l"'ingover
mind, begin again. Herr
hear
to
is
bull-dog
fourth bar,
Never
pleased
Song.
out.
the
as
Mrs.
the
pedal,
the
at
get
and
Now
the
where
make
begin
beginning,and
she
sticks
of
week
a
more:
once
fast)
ashamed
me
goes
you,
it
ago
quite tolerably.
went
{Lizzie begins
scrambles
bar ; but
and
more,
once
plays
through it, as far
it is all
now
the
as
with
over
rather
or
eighteenth
her, and
she
gets up)
Dominie.
:
begin
S.
John
leave
we
the
Skip
the
once
on
at
{to
his
cult
diffi-
too
the theme.
wife).
gentlemen
will talk about
introduction, it is
alone.
it further
We
By
over
will
and
away
by, gentlemen,
and
a
go
cup
of tea.
{Lizzierefusesto play)
Dominie.
scales
some
or
easy
Mr.
some
dance
Shepard,
chords
without
;
a
let
few
notes.
Lizzie
play
a
few
finger exercises,
of
A
Shepard.
You
see
I
and
have
Musical
She
has
always
take
each
Tea-Party,
nothing
played
one
of that
piece
one
up
well
as
repeats the difficult parts, I write
them, and
over
the
not
use
deal
of
am
pains,and
Lizzie
lessons.
hours
pieces two
the
in the
world,
is not
and
touch
has
; and
fingers so
she
that
certain
are
with
must
kind,
the best intentions
play as
the
end.
your
amateur,
an
which
must
pay
acquirement
to
her
hands
firmness, decision,and
her
tone
error
pieces, at
and
a
tolerable
in
the
choice
skilful
most
are
Emma)
give
to
"
the
"
endeavor, by scales
then
far too difficult,
pupils
4*
in
to
the
over
of
get rid of this robin-red-breast
master
distinct
to
great
a
thing higher,for
beforehand
much
less
only
does
practises her
sufficient talent,you
not
you
can
not
which
is
she
out
accomplish
never
for any
of every
exercises
your
Lizzie
tone, and
correct
even
will
attention
some
are
you
intended
in fact she
a
Shepard, with
ing
finger-
taken
and
with
; she
can
proper
have
but
"
Mr.
if Miss
Even
I
myself
; but
day
a
ready.
after another,
as
the
same,
(Lizzie goes away
Dominie.
I
quite worn
does
kind
particularthat
very
fingers.
wrong
8i
to
execute
*
a
with
touch.
her
fault of most
a
You
pieces,
teachers,
pieceswhich
pupils. The
should
and
dexterity,
least
of
and
be
below
their
Piano
S2
mechanical
difficulties robs
performance,
and
least
pieces, at
who
as
piano
of
do
;
apply
;
performer.
The
a
and
not
write
in
a
at
any
only
without
is first to
then
certain
than
to
lay a
go
Burgmiiller.
the
study
of
deprive
and
the
in the
of
hope
performing
herself
without
and
her
the
music
This
may
higher grade
is full of
for the
danger
which
can
wearying
both
of
lead
ever
pupil
and
ful,
distaste-
foundation
in mechanical
power,
the
If you
will
Lizzie
of
player.
the
to
piano-playing
easier
for
will
a
husband
a
piece
be
the
gradual development
more
in
will
There
the
most
great deal
much
which
Hunten
chanical
me-
piano performance
the
ful
care-
of time
interest ;
pleasure and
than
friends.
produce
with
a
all
pieces by
to
try
waste
pupil of
the
young
the
pieces,except
selection, you
and
regard
to
posers,
com-
adapted
manner
in
dexterity essential
by
tivated
cul-
making
with
on
be
famous
rate,
course
result, without
sure
parent, and
and
of
for his music
composition
to
those
Beethoven,
to
even
should
powers
exercises, in preference
importance
more
in the
stumbling, bungling,
to
who,
or
rise to
and
struggle with
the
all confidence
mechanical
studies
by
of
player
gives
The
hurry.
the
the
and
Song,
for,otherwise,
;
powers
and
interested
satisfaction
give pleasure
can
and
be
no
to
success
culture, with-
A
out
Musical
plan, without
a
fact,without
in
be
time
same
the
the
treble
vexations
the
and
daw?t
to
(Dominie
S.
conclusion
She
is
to
tired
she
and
between
fact
in
?
once
And
without
has
what
!
success
in to
go
have
gentlemen,
light
a
be.
may
the
hours
pupil ?
day,
every
think
you
course,
to
come
good
a
Do
same
tea)
you
Lizzie
not
practise two
in
continue
the
phrasing,
attention^ and
Shepard
Is
obliged
however
should
?
the
gain familiarity
"
at
at
upo7i him)
and
Well,
any
with
try
confusion
notes,
of time
loss
to
proper
the
thing
listened
seemed
Mrs.
bass
every
! what
(Shepard
w'th
avoid
to
there
can
touch, with
correct
time,
"
has
pupil
a
reflection,
How
fingers rightly, to
struggle with
to
with
notes, and
the
the
^3
and
method.
proper
play
to
move
with
a
fingering, in
proper
to
consideration
good result, if
any
Tea-Party,
Herr
we
inie
Dom-
?
Shepard.
to
Herr
some
will be
few
trifles.
to
us
After
a
tea
will
called
of
to
use
Miss
not
my
Emma
tion
atten-
me.
play
}
Emma.
some
Only
S.
has
points which
Dominie.
John
Dominie
The
of the
piano
is very
keys stick,the
much
action
out
is too
of tune^
light,and
Piano
84
the
instrument
successful
by
of
S.
I
beg
everybody
fine
bought
it, sixteen
years
bargain
in
time,
who
neighbor
Mr.
it at
the
had
will
Shepard
bows
(Emma
for
considered
was
when
We
had
it
great
I
of
it
much
very
we
a
purchased
we
what
head
it
instrument
improved
her
:
ago.
confirm
tlie
thing.
pardon
very
for
calculated
not
any
your
a
Song,
is
generally
execution
John
and
by
a
use.
Miss.
say,
and
thoughtfully
looks
at
y
Shepard
S.
My
violin
the
last
twenty
John
during
Lizzie
the
suspiciously^
were
vioUn,
to
keep
That
Dominie.
S.
to
see
play
must
us
you
play
Dominie.
to
be
Rosellen's
us
a
You
The
soon.
"
piece
are
learn
Tremolo
"
;
his
hope
ha, ha
on
!
daughter)
will
you
time
next
play
!
with
I
if
honor,
to
Ha,
curious
leave
take
improved
my
family.
the
(condescendingly),
again
On
should
would
wishes
(Dominie
Mrs.
it in
much
very
years.
she
boy,
a
has
Lizzie
Miss
and
come
will
Emma
too.
extremely
kind
1
(Takes
leave)
Piano
86
by
artistic
correct
forced
and
audible
never
of the
use
the
strengthen
them
of the
voice
by
must
to
points
and
the
reform.
to
register is
;
the
with
of
must
a
the
be
register,when
such
a
register,and
of
head-
the
reckless
still other
that
aware
which
with
deep
jerking
the
the
this
chest-
head-tones,
this
chest-tones,
inaudible
of
out
false
continually
You
erate
voice, this immod-
by
whole
the
registers
have
almost
and
this
must
of
not
the
aimless
general,
execution,
What
also
must
extended
you
interfere
to
J
as
rect,
cor-
registersof
use
you
its compass,
made
pianissimo
well
the
of the
affected, offensive,
sentiment
a
lowering
by skilfully
and
Are
coquetting
in
middle
unnaturally
limits
proper
forcing of
and,
You
varied
frequent tremulousness
this
the
equalize
must
acquire
tones.
in
less
much
by diligentpractice of solfeggio.
restore
their
of
never
improve
you
use
head-tones
correct
a
and
tones,
voice
good
; you
weak,
the
by
voice
a
breathing, and
quiet guidance
make
with
indeed
of attack
method
Song
studies, and
strong, often
or
your
and
nasal
single tones,
of
mode
shock
the
vocal
natural
cultivated, unprejudiced hearer,
and
composer
the
effect
its
extreme
manner,
on
a
voice
limits
and
when
as
singing-teacher?
in
are
you
the
middle
forced
expend
in
as
and
Singing
for
breath
much
educated
aria?
How
few
a
hollow,
dull, guttural
talent
have
?
done
will
in
into
a
voices
do
or
time
restore
which
have
years
; and
notice
of
been
leaving
I
vent
the
I
Italy
I fall
?
beautiful
have
during
trace
and
others
as
many
spoiled,and
a
voice
ruined
the
dwindled
the last
heart
in
forty
brief
a
singing-teachers, whose
have
for
watched
a
that
soft air of
the
once
of
into
proclaims
meteor,
overflowing
my
many
influence
voice
a
yond
be-
into
even
which
a
that
I think
when
without
like
voice,
forced
beautiful
your
hope
you
rage
away
and
Is
disappear
to
and
rectly
cor-
whole
a
degenerate
sound,
injury?
irremediable
a
your
always
shall
tone,
tremulous
or
as
song
before
almost
beauty,
a
87
require for
it be
and
of
limits
explosive
your
would
will
long
of
lines
singer
already weakened,
the
Singing-Teachers,
rise
twenty
years
we
usually
past.
The
find,
so-called
in
even
I exempt
would
not
be
permit
soprano
vowels
at
once
long holding
the
voice,"
singing-teacherswhom
large
cities
from
able to
any
until
to
begin
of the
the
in
musical
tions,
institu-
special criticism, for they
understand
voices
;
and
sing
with
notes,
poor
c
"
views.
my
scales
in all the
of
instead
in order
victim
They
to
rolls
//
five
allow
bring
her
a
out
eyes
Pidnd
SB
and
which
with
do
be
must
the
highest principle is :
of Teschner,
rubbish
without
have
try this aria
Down
on
the
the
make
strongly
Nature
on
does
has
she
these
not
in order
sigh
such
to
the
in
the
effect !
an
"
produce
to
make
to
power
it serviceable
indeed,
may,
prattleabout
they
; and
tones
for
b
a^
first
at
the
Come,
screaming,
and
solfeggioy
two-lined
of it.
you
sequently
con-
pupil practise diligentlyand
place
herself
As
voices, which
medium
speak,
the
the
reserved
development
which
allow
voice, and
of
singing
in
muring
mur-
do
?
Produce
who
requisite equality of
the
what
public performances. They
for
require
others
"
expression in
and
any
Sing
them
use
'
want
"
better,"
the
more
!
*
again
are
For
to
Their
of this
use
to
them,
to
Wieck.
?
Grdce,' gr^ce
!
nothing
don't
we
and
breath
not
are
knees
your
There
"the
*
!
is the
what
taking
:
fine chest
listen
even
Fudge
"
:
if you
lungs
of the
distinguishthem.
to
Miksch,
plain way
own
your
will not
learn
or
only
elicited,will have
head-tones,
recognize them,
Song.
talk
dizzy. They
grows
tones
and
for
teachers
future, or
and
postpone
else
voice,
slow
because
careful
and
unfortunate
still less
are
throat,
the
the
the
kind
flat,^, where
after
the
they
ing
gasp-
docile,and
all
only
can
cultivation
exclaim
in
a
of
sat-
isfied way,
Let
!
notes
Now
"
it is
future,"
the
In
I
future," the
have
And
they
even
they
to
come
in
For
the
should
not
sing
to
a
pedantic :
right
the
who
those
with
always
after
ride
formation
of
their
days
surely ought
reasonable
teachers
whom
Though
they
twenty
be
to
allowed
it is most
use
only
use
not
up
the
trifles.
minute
a
ought
or
in
a
to
use
difficult
seven
and
lady singers,who
Moreover,
manner.
looking
incredible
lost, particularlywith
than
views,
striving,they
tone,
usually cannot
But
forwards,
or
to
particularhobby,
in
strong, and
wish
so.
Without
fine
a
"the
present.
pattern, and
one
them.
prejudiced
left
the
place, I
do
measure
the
to
or
of
honestly
aims.
matters,
more
business
second
with
do
secondary
be
the
these,
about
nothing
in
who
too
thing
every
time
a
enough
groove,
a
Of
about
and
daily learning,reflecting,
in
"
opera
write
and, in the
one-sided
the
to
without
cut
are
pursue
around
are
I
!
the
"
to
know
I
;
better, and
teach
run
unborn
now
for
voice
place,
than
more
music
really unable
first
Hit
sight !
at
singing-teachers,whose
the
am
8g
speak.
to
educate
to
sing
classical
have
us
for the
as
will
we
also, I forbear
And
Singing-Teachers.
and
Singing
month,
their
these
to
not
and
time
are
to
who
in
the
comprehend.
tones,
they
are
Piano
90
in
plunged
be
of
out
brought
and
indeed,
themselves
but,
;
powers."
will, for
We
fourths
of
of
the
is
same
to
who
beautiful
country, but
and
aim
tone, the
make
do
to
present
unequal
the
or
therefore
other
are
formation
the
tears."
only
Truly
found
be
to
a
in
at
better
and
their
than
the
torment
mortal
poor
far
often
from
pupils
so
is that
voices
every
and
thing
Some
so
with
perfect beauty
beautiful.
anxious
done,"
have
others
perfect equality and
result
try for the
of thinking, " I will
instead
Others,
their
but
!
Paradise
harass
is
which
(the
pursuit of perfection,
the
valleyof
"terrestrial
that
in
voice
voice,
and
get beyond
lost
the
There
gained.
be
are
the
correct
ruin
to
development,
can
never
and
threetomed
accus-
piano-teachers);
many
is to
higher
are
of
do
their
that
they
good
are
they
"the
treatment
ever
even
suppose
is sufficient
tone, and
"
once,
their
its proper
correct
teachers
of the
of
fourth
prevent
nothing
in
so-called
can
not
say,
which
individual
true
remaining
they
as
measures
employ
to
and
the
of
nothing
blame,
to
hobby-horses
hensible
incompre-
this, however,
For
Hght.
in
multitude
a
which,
to
consider
not
Song,
impenetrable mysteries,
knowledge
secrets,
and
of
becomes
teachers
troubled
that,
and
Singmg
owing
their
to
breath,
the
and
in
songs
fact
close
for
abilityto
succeed
will
have
no
time
in
'with
and
are
of
and
them
sing
to
ideas
knows
some
a
fret about
about
the
do
others
a
upon
master
just the
clear
the
who
voice.
has
of
all the
reverse
authority
"
the
some
;
They
of
written
some
a
buts."
narrow
advance
no
allow
pupils to
ing
only legato^aim-
Some
in
the
some
allow
losophi
phi-
voice, and
same
;
extraordinarytalents,
want
passion for making
others
beauty
the
pupils,
and
feebly;
too
them
up
unpleasantness in the
enthusiastic
are
others
about
grumble
"
what.
loud, others
too
use
make
others
of
within
Some
an
faults,as
their
ifs
"
only
and
nobody
at
with
They
earnestly about
others
Some
path.
practise only staccatOy
thereby
around.
;
the
pursue
worse
conceited
medium
in
Others
guilty of
ideas.
own
tears
confidence
perfection,but
of
in
so
in
and
optimism
happy
a
and
manner,
positive,but
very
correct
a
in
exchange
an
are
wooden
look
standard
circle of their
in
their
to
is essential.
mysterious
They
pronunciation, they siiig
if you
see
the tone,
the
singing,
course,
91
and
lost
are
whereas,
you
attention
utterly
an
they, too,
opposite
Singi7tg-Teachers.
talent ;
some
have
sing alto,
sopranos
prefer a shadowy,
all rest
famous
their
opinions
screaming-
singing-system. Upon
Piano
92
like
authority,
effect,"for
like
sing
of
none
the
to
the
the
modern
blame
I
will
of
will
attention
critical
of kind
and
much
As
they
trouble,
last
a
too
Nature,
resort,
and
lay
her.
I
instructions,insisted
careful
more
no
say
Have
proceed.
and
singing.
but
;
too
it
contrary,
much
is too
to
because
the
on
pay
requires
and
themselves
upon
Well,
to
an
suddenly
head-tones
that
:
art
bethink
they
willing
matter,
a
the
upon
voices
able
Others,
deep
"creates
growl, and
to
Paris.
them
medium
delicate
for
rather
in
be
to
the
chiefly
fine, and
very
voices
or
themselves
pride
is
soprano
fashion
is the
are
it
men,
Song.
cultivate
some
because
tones,
and
the
of
use
point, but
in
my
importance
of
already,
not
on
this
upon
every
piano
ual
grad-
a
expedient
proper
to
extend,
strengthen, beautify, and
preserve
voice?
I
infringe upon
the
office
thought, however,
am
of
the
be
singing-masters, who
position
to
the
piano-ieacher. Still,I
poor
repeat
that
fingers;
much
worse
after
demand
of
much
voices
than
exalted
more
are
and
than
to
much
that
be
rigid
stiff,unmanageable
all, they
amount
to
the
singing-teachers that
their
of
that
allowed
to
easily injured
more
broken,
hold
than
must
the
same
they
voices
are
less,
fingers, un-
thing.
show
them-
I
Piano
94
are
in
with
busy
so
attention
to
voices, that
for
In
that
and
formation
the
the
and
care
they only
object, and
Song,
to
for
anatomical
and
not
the
even
without
mechanical
for the
accelerator
"
mine, for the proper
purposes.
cutting
of
the
no
stretching machine
invented
finger-rack
knowledge,
my
mouths
hand-support,
fingers or
"
of their
their
open
piano-playing also, I require no
interdigitalfold, no
tone, and
preservation
wish
not
of true
by
used,
pupil *
famous
a
raising of
and
;
the third
of
fourth
and
fingers.
My
throat
dear
throat
with
his
lunar
is
owing
to
does
many
become
*
to
for
over
Tr.
facilitate
many
beautiful
is here
the
use
and
the
reconstructing
out,
things well,
it not
may
to
his mistaken
made
voices
to
:
any
Robert
of the weaker
necessitated
the
and
before
the
of
singing
duced
pro-
fashion
has
she
all at
once
thing right ?
Schumann,
who,
fingers, employed
which
raisingthe fingersartificially,
them,
then
teacher, and
incapable of doing
Reference
responsible.
by destroying
really worn
of this modern
introduction
is
the
made
?
management
Nature
assistance
the
has
alone
caustic, and
throat
be
perhaps
Creator
singing, he
to
come
If the
it.
for
badly
I cannot
lady,if the
young
resulted
abandonment
of
in loss
a
in order
machine
of
power
piano-playing.
"
We
will,
work
with
"
all
simply
then,
above-mentioned
;
with
our
all
mind."
Singing-Teachers,
and
Singing
our
and
return
in
heart,
the
to
these
with
95
we
all
three
will
our
trifles
live
and
soul,
and
Piano
96
and
Song.
CHAPTER
IX.
THOUGHTS
Our
vocal
teachers
from
the
has
of this
its full
of
mode
opinions of
the
noted
singing
at
; or,
which
even
before
The
consideration
it has
some
unite
to
ished
ban-
faulty,and
communicate
to
journal, and
my
almost
delivery,by
destroyed,
me
singing-
many
unnatural,
development.
fact induces
from
few
been
of
art
an
always disagreeable
attained
true
introduced
voice
by
singing institutions, have
music
least, have
the
followed
composers,
and
SINGING.
ON
with
tions
porthem
a
singing-master,Teschner,
of Berlin.
Must
in
compose
write
in
in German
they
torture
do
we
will
wear
the
a
manner
at
least,
suited
amazing ignorance
out
the
powers
to
require
not
Italian, they ought,
otherwise, in their
and
again explain
and
that, though
composers
to
again
we
them
to
learn
to
for
singing?
and
tion,
infatua-
of opera
public, apparently
German
without
singers,
a
sus-
Thoughts
Singittg.
on
picion that
it is
possible to
lightoperas
with
true, characteristic
German
Even
attention
the
to
methodical, effective
voices, or
which
Is
it, then,
of the
knowledge
of Gluck,
scores
Donizetti
and
our
difficult
so
vocal
their
mortifying to
singing,
and
; but
voice!
must
for the
claim
to
S
of
?
chief
}
o
of those
consider
who
understand
about
any
of your
to
the
fine
ear
how
you
turbance
disown
human
are,
you
it
the
cause
requirements in
when
trifles,
to
You
"
you
Do
sacrifice
a
gift,
a
the
this ?
to
study
ashamed
noblest
requisite
study
to
over-estimate
great public,I ask
three
a
sensitive
not
lament.
must
the
great
those
feeling,and
be, the
these
violate them
are
man's
If taste,
always
making
vain
you
of
destruction
in
are
you
of your
powers
too
inquire
opposed
Rossini, Bellini,
Mozart,
essential
are
obtain
make
genius
a
superficialeffect,
specialregard
a
stant
con-
female
and
; it is
voice, and
Haydn,
composers
which
things
human
with
creative
after
to
a
It tolerates
singing.
friend of the opera
sincere
every
oughness.
thor-
requires
company
searching
eager
German
single male
on
the full opera
on
that
to
of
and
grand
of the voice, and
right use
attacks
murderous
no
both
write
opera
mode
97
and
ing
composcan
lay
constantly
Piano
98
If Mrs.
Composer.
in
she
have
would
for it is much
both
will do
voice
no
is
as
of
as
attention
composed
employment
into
of
long
success
with
the voice
to
does
excite
the
consider
you
it.
to
regard
The
to
musical
to
of
doubtful
are
voice ?
you
to
tones, puts
the
me
feeling
a
me
of dissatisfact
one
failure.
Of
what
composition,
a
and
success,
struggle with it,instead
control .?
You
free, agreeable
attach
public.
to
less
of
exercise
I do
not
to
adaptability
the
You
piano
usually regardless of
or
if
of
tance
impor-
the
give pleasure by
developed styleof singing.
why
fact,pay
voice, and
value
with
the
latter aria,which
the
anticipationof
sung
study of
contrary, into
the unanimous
to
with
always
you
or, in
gives
and
the
on
compassion, but
attention
written
the
agreeable
mood,
obliged
it under
having
than
is
as
a
is the
only be
can
day,
yester-
expressive
mistake, and
a
of its most
and
if it
as
satisfaction;
much
as
harmonically,and
whatever
; yours,
importance
with
of Rossini
that
secondary importance,
comfortable
a
aria today
my
interestingand
make
You
so,
executed
effect.
dramatic
Singer.
did
given
more
musicallyand
more
had
masterly a style,and
agreeable a voice,as
she
N.
and
earnest
as
Song,
and
voice
wish
a
pay
to
tifully
beausome
the violin
fitness for the
:
Thoughts
sing
often
have
Critics
?
questions, I
she
Lind
voice
her
select
In
will ask.
Jenny
preserve
sing grand,
not
or
Why
?
why
long
as
of
wish
does
she
endeavor
she
singing, which
hypocriticalsentiment,
ideal
of her
image
she
which
of
doing
violence
or
art
casting doubt
?
to
answer
asked
music,
the
same
or
the
an
both
the
which
she
choose
operas
in
of her
union
to
of the
its tones,
and
which
and
?
This
are
is the
likewise
all great
Schroder-Devrient
this
beautiful
singing,and only
united
Sontag
passionate
independent
no
perfect possible
most
noble,
lofty,
questions
exception
pure,
and
forcing
and
regard
Henrietta
Even
not
first
the
about
made
she
voice
her
does
conspicuously, without
shine
her
upon
does
why
afterwards
was
to
the
does
marvellous
the
to
permits
personality? why
own
to
song
why
give
can
allow
may
powers
beauty?
she
in which
operas
her
use
may
mannerism,
an
always
possible? why
mode
possesses
lar
simi-
and
she
artistic,refined
no
formances
per-
Lucia,
does
as
sionate
pas-
Italian
even
these
reply to
in which
operas
for her
select
not
Lind
Jenny
always sing Amina,
"c. ?
Susanna,
remain
she
does
why
Norma,
she
does
9()
does
of the later German
some
operas
she
does
parts ? why
to
asked, Why
coolly? why
so
Singing.
on
ers.
singdom
sel-
rule, although she
theatres.
Piano
lOO
These
to
our
to
for
suited
un
female
their
over
of
any
fact,
which
;
a
as
ten
for the
to
is too
feeble,broken
voice
Let
Jenny
Lind
the
finest
models
modern
to
style
;
of
which
was
so
more
opera
singing has,
deviated
fruitful
clearlythe
style
be
especiallyin
in
of Pistocchi, Porpora, and
show
our
to
are
than
a
would
short
time,
be
placed
tious
gifted,ambi-
regarded
lous
miracu-
as
our
times, when
for
reasons
brilliant
Bernacchi.
sublime
case,
health.
young,
from
main
re-
have
not
Sontag
destructiveness
the
Sontag
would
very
departed
before
so
widely
justify,
they
so-
scene-
formerly the
Henrietta
and
singers. They
phenomena
and
to
modern
voices
after
common,
in
;
never
Henrietta
was
; and
twenty years
as
mourn,
the
and
as
exertion
fashionable,
their
opera,
watch
erate,
immod-
and
present,
Then
and
voice-registerwith
them,
Lind
done.
always
useful
to
inartistic
endowed
Jenny
as
selves
themoperas,
from
them
the
the
sacrifice
to
preserve
guard
in
renounce
screaming,
from
to
often
warning
urgent
screaming
"singing effects,"and
called
have
but
to
and
has
to
an
modern
voices, and
nature
shriek
the
sing always
to
be
singers not
singing ;
continued,
Song,
should
questions
young
and
the
difficult
the
old
results,
school
"
could
What
of
beauty
that
our
of
ent
prestheir
Piano
I02
tones, who
desires
and
to
lightness
cultivate
far
as
for the
inferior
it in
to
and
perseverance
ought
be
to
it down
bring
to
of
the
in
its
is
of
result
ing
strik-
too
chest-voice, and
it is the
even
of
want
cultivation.
imperceptibly connected
chest-registerby
is
head-tones
falsetto has
prudence
almost
should
flexibility,
use
the
power,
and
chest-register. This
the
the
to
and
mand
com-
shading
necessary
the
When
soprano.
pia7to at
a
endeavor
is
as
resemblance
a
the
into
possible
have
to
the
t)\Q falsetto^
and
as
Song,
elegance
as
indispensable
as
always
possess
well
as
and
the introduction
It
with
of the
mixed
tones.
We
an
shall
probably
of
"Address
of
Composers
Young
are
! but
opera
which
singing
;
be
for
in
repugnant
are
loss
possible
of
for you,
in
your
our
after
quickly as possible,to
look
whom
same.
you
can
do
we
the
to
upon
Singers
follows
"
:
of the
true
to
up
around
First
our
for
You
art
all
of
compensate
voices, although
using
!
in
against
the
power
the
to
Freedom
throat
protest
to
read
! freedom
composition
that
for it is not
the
as
annihilation
notified
hereby
operas
us
no
called
Female
Germany,"
of thought ! freedom
the
be
soon
it may
talent
as
others, with
learn
to
under
Thoughts
singing, or, rather,
stand
have
predecessors
still
What
"
first learn
done, and
will talk
we
the
singing ?
most
Is
is
just
the
which
voices
these
do
?
grave
is it who
Who
girls from
and
boys ought
voice
is
what
changing
not
and
enlighten
killed
in
of
these
the
but
singing,
germ
by
And
.-* Our
our
has
yet been
these
the
physical
here
friend
voices
But
intendents
super-
innumerable
authorities, and
beautiful
old.
age.
true
to
and
of
unsuitable
tions
peti-
humanity,
found
prove
finest
the
Boys
while
overwhelms
age
no
that
to
?
from
singing
corporations with
and
most
teach
follow
sing
all at
at
a
promising
years
to
"
requires
schools
girls,also
sing
to
proposals ;
music,
the
; and
over-wise
and
that
allowed
of instructors
kind
and
epistolary
of
be
to
not
in the
fifteen
to
!
many
annually
sing
thirteen
ought
reasons,
How
institutions
?
singing clubs,
misfortune
investigation.
schools
public
institutions
thorough
there
Germany.
singing
singing societies, and
That
is
in
innumerable
consider, too, the
want
where
Pray
the
composers
German
about
in
your
again."
you
is, I agree,
It
singing taught
not
And
"
sing, as
to
with
pedantic outcry
a
103
Italian
as
adaptability for singing !
of
*'
then
do, and
Singing,
on
to
to
them
talents
are
so-called
Piano
104
and
Song.
singing-lessons,especiallyin
Girls' voices
practised,and
they
should
until
the
used
or
a
also
to
be
months
done
where
and
Therefore,
of
is to
who
find
to
we
are
in
singing
children
of philanthropy and
!
age
faulty screaming
throats,
without
for
compensate
loss of voice, and
abortion
this
follyof
this
in
croaking
or
inevitable
and
their
guidance,
and
hoarseness
of the
for the destruction
travagant
ex-
unrefined,
premature,
artistic cultivation
later
salary?
instruction
with
of children,
the
experience,
erroneous
a
later.
or
sors,
singing-profes-
musical
such
Can
the
to
up
sufficient
a
! away
the
or
only
circumspection.
suitable
this
with
; but
and
great
and
them
pay
away
musical
sooner
with
fully
skil-
and
mezzo-voce,
delicacy,practicalknowledge
But
and
development,
few
year,
ought
in
only
of their
period
thirteenth
This
be
flexible
made
schools.
public
carefullyawakened,
be
may
the
organs
of singing ?
The
and
tenors
who
institutions
belong
force
voices, and
and
by
nasal
this
from
voice.
tones,
or
that
Who
was
execution
famous
beautiful, and
with
scream
in the
composer,
which
the
sacrifice
and
out
singing
these
to
lady
serve
who
societies
their
cultured
un-
throat, palate,
of
four-part songs
which
only
sang
to
the
are
ruin
solo
far
the
in
Thoughts
?
yonder singing academy
had
she
is
only twenty
the
the
forces
and
the
to
been
without
"spressioneI
While
and
well
so
the
with
suited
the
to
the
German
voice, and
northern
with
ment
adjust-
the
use
for
direction
of
from
of this, he
Instead
! con
forcibly
!
alone
the
Italysing clearly,
voice
national
in their
songs,
most
tiful
beau-
in
the
most
in the schools
manner
all artistic
be
may
are
difficulties of
great
sacrificed
are
self-satisfied
and
in
voices, which
the
singing societies,while
which
by
the
ability,their
language,
cold-blooded
and
our
contend
to
boys
street
great
language,
obliged
for
without
"
even
often
help
a^
Loud
"
the
to
two-lined
proper
continuallyexclaiming :
was
it,by
done
superintendent.
competent
a
ago,
but, although
;
voice-registersand
head-tones, and
year
old, it alreadybegins
screws
ever
105
girl,a
voice
years
chest-tones, up
of
the
she
thing having
any
That
fresh,beautiful,sonorous
a
fail her, and
of
Si7igi?ig,
on
preparation,
preserved
and
cultivated, is neglected.
Who
at
are
societies .''
strangers
are
how
not
to
6*
the
Musicians
to
any
skilful
combine
of these
head
it
is
true
special education
institutions
but
;
in
singing-teachers,who
methodical
cultivation
they
and
are
singing,or
understand
of the voice
Piano
I06
and
Song,
practical execution.
with
consists,
at
These
time.
in
most,
Their
hitting the
musicians
know
society must
keeping
"Whoever
sing !
to
and
notes
say:
how
instruction
entire
"
joins
What
my
that
does
"i
.? Where
mean
when
have
you
academy
does
few
a
the
require
that
in
greatest
have
who
who
have
these
do
it?
Are
not
obliged
to
been
no
A
musical.
amount
voice
fine
!
keep
time.
been
destroyed by
A
error
discern
few
cated
well-edu-
the
side
hit
the
the
is
who
has
no
notes
special tialent
and
the
and
to
has
firm, decided
frequentlyleads
opinions ; who
of
voice
the
backwards
constantly wavering
who
what
members
loss
the
!
culture
and
they improve
make
for
singers
Then
?
Do
?
of
manner,
wrong
false
his untenable
the
these
after
forwards, and
by
requisite
They
to
Is
the
great comfort
singing-teacher
principle,who
and
}
them
teach
A
to
consolation
voice
They
a
"i
you
intonation
correct
pure,
the
in
your
then
watchfulness
sing by
taught
societies
destroy
or
Have
even
voices
their
and
?
And,
well-taught singers,
of
power
for
voices
but
care
it
obtaining for
in
succeeded
preservation
your
knowledge
learn
to
imprudent
the
not
they
are
others
quickly
cannot
capacityof
into
his
pupils,
Thoughts
discover
or
false
or
the
without
success,
; who
and
and
mistrusts
is
what
hand, and
such
of
these,
as
ways
knowledge,
of his
has
but
hopes.
his
mind,
and
increase
these
master
"
My
for the
with
as
well
singers
great deal
produce
Answer.
to
are
stage, and
their
a
What,
be
say
in his
too
own
kindness
of his
things
educated
therefore
execution,
effect ?
to
not
a
for
to
pupils,
"
singing-
a
piano-teacher.
must
of breath.
an
all
in
and
energy,
quite clear
confidence
and
for
as
art
time
fall short
always
considerate
requisiteabove
are
hard, force
to
be
constant
the courage
the
gantly
extrava-
encyclopaedia
decision,
to
is
time
one
kills
an
will
success
little,and
too
or
at
and
be
may
delicate,quick perception ;
much
who
praises as
blamed,
Firmness,
who
;
ing
kindly offeringa help-
time
he
"
tion
perfec-
edging
cordiallyacknowl-
pupil ;
of
another
before
he
as
of
in the
instead
at
encouraging
instead
good
horse
high
a
of
to
worries, offends,
blames,
instead
dissatisfied
always
rides
and
of
theories
is
road
speediest
one-sided
any
depresses,
the
adopt
107
get rid of what
to
means
proper
wrong,
Singing.
on
How
and
for the
public,
sing loud, study
make
of
use
a
be
able
effect of your
cul-
else will
they
"
then,
is the
I08
Piano
?
ture
I
of
know
are
applauded,
and
are
and
them
without
"
not
of
Hence
Unless
in
a
encourage
two
or
year
in
cultivating
twenty, with
any
of
decadence
the
Wl^en
year.
Many
only
voices
of
Answer.
the
the
to
and
sing piano
is not
till the
the
oi
twentyit is to
case,
singing-teacher.
acquire a sharp
tone, which
is the
decay."
All
voices
Only Jenny
by
disturbance
improve
this
less tender, if their
allowed
unusual
some
all voices
occur,
precursor
"
in
pretty,
good voices,
to
succeed
voice
good
one
result.
be attributed
or
wishes
and
singing."
sickness
"
have
first
at
trace.
any
singing-teacher can
Answer.
fourth
they
they disappear
noteworthy
they
young
then
than
that
are
public
more
art
; because
leaving
The
they
benevolent
and
;
Song*
except
none,
because
novelties
the
and
the
Lind
and
are,
culture
and
and
more
is correct.
Sontag
Henrietta
public to give
lightlywithout
remain,
will
out
their
voices
straining them,
their
pianissimo, and
were
and
urally
natto
celebrityis
a
of this privilege."
justification
Answer.
their
and
how
But
celebrity,if
pure
mode
of
this
would
were
singing?
they
not
the
have
true,
obtained
correct,
Piano
no
muscles
If several
!
voice
out, weary
emit
other
or
of
complain
the
mouth
"
with
the
and
groan
of
result
being
take
help
is said
Nature
the
and
a
strained
voice
of
the
like
noises
of
What
!
one
no
occasions
many
a
delicate
ear,
the
teach
fine culture
be
only
can
which
tones,
cruel
of her
course
from
long
bellowing
of
exert
success
are
a
crisis I
trifles."
the three
"
and
have
we
calves
instructor
the
and
of
are
of
our
musical,
have
feeling,
themselves
ing-teac
singpossess
studied
zealously
rightly?
They fail in
to
of
of whom
systems of singing, and
to
the
want
direct
a
unpleasant
again
thinks
the
chest-tones, they
ducks,
finallyperceives it, then
"
voice, even
Finally, if
!
then
of breath,
in the
we
occasioned
medium
many
the
If
!
of
crisis,of
necessary
holding
quacking
Andj alas
in
oblique,instead
great deal
a
of the
into
changed
change
an
requires a great
forced
cannot
widely stretched,
poor,
of
be
to
development
and
a
worn
sigh,or
too
produce dull, hollow, veiled, and
that
the
month,
meteorological conditions
If the
!
course
in the
unpleasant, shrieking tones,
of sound
rays
only
can
Song,
times
sound, it is the
a
weather,
by
and
learned
the
culture
from
books
of the tone, which
or
by
one's
is not
self,but only
Thoughts
from
a
with
tone,
the
of
use
the sound
above
strike
the
pronunciation ;
with
to teach
out
to
and
voice
the
in
persevere
must
one
acquire by long
and
Dresden,
though
for
Miksch
devoted
a
called
herself
not
was
still remember
must
extraordinarypractice in
learned
had
it from
just
in
sung
a
Caselli, a
as
a
concert,
young
and
this
the
to
errors
;
what
is still
all these
experience.
Vienna
celebrated
proper
little
a
to
the
under
ing
wear-
if the
from
in the
but
;
even
constant
already
thoroughly
tone
know
came
attention
her
end,
"
wanting
singing,she
of the
and
time
that
at
but
young
these,
easy
attained,
Schroder-Devrient
When
to
the
improve
very
the
be
how
cause
mouth
fallinginto
to
it is to
and
to
time, without
without
pupil already sings correctly;
wanting
with
"
seem
; to
sound
registers,
shortest
teaching
to
;
the
things, may
all in the
them
teeth
adjust
to
other
many
of
row
the
rc/of of the
the
against
upper
attack
breath, and
unnecessary
no
to
forth
draw
to
produce
to
light,free,natural
a
how
understand
iii
learn
To
communication.
verbal
clear
Singing.
on
to
singer,
tion
founda-
surprised when
deficiency.
primary
instruction
She
tion
forma-
of Miksch,
and
his
the
old
this
particular. Miksch
pupil
master,
of Bernacchi.
tenor,
with
introduced
He
great applause,
himself
to
Piano
112
Caselli,who
would
a
that
within
succumb
young
Miksch
applause, and
studied
the
a
After
his
previously allowed
singing
his
he
much
renounced
voice
adopted
hard
gle,
strug-
all further
pubhc
formation
the
of
unless
year,
his
ing,
commend-
misuse
of
uously
assid-
tone
Caselli,after having
perseveringly with
and
of
mode
such
of tone.
culture
correct
with
his
receive
to
latter,instead
frankly that
him
false, and
was
the
; but
assured
Song.
present, expecting
was
approbation
and
over-strained
voice
time
a
for rest.
If
a
singing-teacher has, by chance,
a
docile
of
pupil, possessed
beauty, it frequentlyhappens
of
instead
allowing
he
when
we
singers ?
Since
three
in
**
says,
Power,"
year
few
a
or
Wagner
have
are
;
and, perhaps,
or
months,
according
with
agrees
be
to
operas
either
unusual
studies
weeks
more,
Why, then, write
longer
no
male
or
to
me,
sung,
female
"
modern
trifles
their
a
Richard
circumstances.
when
only for
continued
are
the
that
sufficient perseverance
with
pursued
not
of
voice
a
with
met
"
as
place
two
progress
has
come
to
belonging entirelyto
has
evil
regard
the
had
rule
the
past, and
proclaimed, "Boldness,
spirits have
"
:
Spirit,
they
go
TJioughts oil
hand
of these
One
evils
It is
me.
breath."
much
full breath
is
result
of the
be
must
very
The
evil
second
which
of
promise
is able
female
voice
shrillness, or
soon
from
This
and
much
is driven
evil
second
is
out
squeezes
innermost
the
male
it into
into
stroy
de-
voice,
; while
a
the
is,at
or
reckless
tones
marrow,
the
in
of "Boldness"
But
to
ill-treatment
back
to
perfectexhaustion.
to
voice,
ing
piercthroat,
least,prevented
attaining a natural, fine development.
straining of single
even
else
which
tone,
the
even
entirelyexhausted,
be
to
endangers
quickly forced by
is
and
tone
thing
sufficient
be
to
success.
endure
to
the
of the
muscles
the
would
thing,in itself,
one
all
the
shortlyrelax
when
of the
culture
a
too
ing
draw-
heavy
if every
Even
such
the
time
to
obliged
are
they shriek,
and
the
deal
great
a
until
at
heard.
right,in
could
that
breath, just
houses.
opera
voices
sobbing,
mere
still be
should
finest
cultivated
frequentlyalluded
been
expenditure of
The
practise with
the
only empty
"
has
the
"
us
113
the
voice, wound
the
provide for
and
ear,
by
hand, ruin
in
Singing.
the
"
"
their
The
order
that
"Power"
destructive
singer urges
quivers
the
two
may
is still wanting, which
H
limits,
extreme
poor
voice, and
and
Spirit
and
to
the
ments
requirebe satisfied.
should
Pia7io
114
be shown
in
effect of
extreme
in
light and
a
force
and
in the
registers do
tones
the
throat
bass
or
and
at
voice
"
Power
have
the
has
concludes
with
such
add
in
worked
has
continual
to
developed, inspired,and
are
the
my
such
tortures
modern
feeble pen
teachers
endure
can
of art!
to
are
in
curse
on
senses,
^nd
now
Spirit, and
task
in
a
is
cuted
exe-
ing
strik-
most
I must
the
"to
cally
emphatitones,
enormities
even
out,"
come
beautiful.
made
such
is
the total effect.
expected
shall assist in
their
into
accompaniment
which
to
What
in
tone
singing .? These, then,
contributions
A
The
holding of
be
formation,
"
singer
completed
ih^forteyvoices
ear
ceeding
suc-
groaning
romanza
rude
a
in
healthy
the
"
union.
the
management,
the
(the
powerless
"
and
so
lines,
his voice
certainly Boldness,
probably sustained
By
whole
on
exhausted
The
tones.
better, because
manner,
even
retire
to
rected
misdi-
beautiful,fresh, youthful tenor
the
and
end,
an
or
permit this),that
forced
speaking
accomplished
effect,lays out
at
register of
best
not
are
; and
mere
aim
must
single tones,
on
that, too,
other
is
unfortunate,
The
The
delivery.
shading, however,
singer,who
much
Song.
well-shaded
"romanza."
single
a
and
for
these
the
evil
bringing
shall
ment
embellish-
spirits!
such
help to
If^
singingsave
only
Thoughts
a
few of
fine voices, I shall
our
and
fulfilled,
heretofore
have
in
both
pursued
but
a
his
is
his
change
play
to
style to
be
to
be
in
more
his
their
own
improved,
than
If
and
consequently of
easy
with
a
to
great deal,
a
and
his
playing of
wishes
to
but
he
his
of execution
age,
improvement
is not
something
of his touch,
style of playing ;
aside
to
wishes
of this sort
of
me
exaggerate,
only
power
years
without
and
manner;
performer
but
this
all his accustomed
by diligentlypractising,daily,
exercises, which
loose
touch,
He
his
only possible by laying
small
vicious
the
bang,
to
and
for the
and
piano-
play
better
way,
twenty
yet be done
pieces of music,
A
years.
better.
it
"
himself, and
him
may
arm
it
as
obstinate,
and
may
pound,
to
increased.
much
is
far
so
prejudices,
thoroughly vulgar
style to
still continues
and
arm,
feels this
He
pupils pleases
my
sion
mis-
my
successfullyand
sport,
I find very
one
the
playing
beauty.
in
rigid,strained,
proceeding from
but
book,
many
incessantlyfor
me
player,with
combated
and
earnest
unsuccessfully;
has
consider
of this
aim
the
115
singing,accomplished.
concerns
I
Singing.
on
fingers,and
must
be
without
give the slightestassistance
played
cately,
deli-
allowing the
;
otherwise, alJ
Ii6
Piano
labor
can
will
thrown
for
away
better
a
wishes
I may
hear
her
by Schubert,
lead
the
Heavens
the
of
are
already broken
up
out
groans,
with
modern
improprieties,but
such
a
fills
the
to
the
hoarsely,and
She
in
The
she
has
must
heard
lady singers,and
In order
the
I
and
with
horror
Erlkonig,"
"
is
At
the
frightful
hear
?
wheeze
between
With
; but
also
such
without
could
and
and
nevertheless
she
ters
regis-
sobs
many
with
matic
dra-
forced
to
its
pity for
with
unnatural
an
conclusion, her
effort,and
to
apt
into
chest-tones,
and
that
disconnected, she
piercing voice,
glorious endowment,
development.
the
singers
"Erlkonig,"
screwed-up
me
especiallyin
:
selects
! what
shrieks
utmost,
but
fine,youthful voice, whose
a
talent.
writing ;
for herself.
same
cultivated
atrocities.
remains
in
perilous piece, which
highly
even
me
of my
voice, she
that
tion
founda-
proper
and
to
comes
cultivation
obtain
to
else
singers.
girlof eighteen
of the excellent
How
frequentlyurged
and
returns,
of female
cultivation
a
have
by speech
difficulty
always
A
him.
upon
I
style?
principle both
the
Song.
begin, except by laying
you
this
be
and
voice
only
emitting
a
cumbed
suc-
groan
sound.
has, however, frequentlyproduced great effect
society,and
drawn
tears
with
this
performance:
Piano
Il8
voices,which
muscles,
great and
decided
that
:
difficulty
it is
when
they
wish
beautiful.
he
character
he
A
Erlkonig
Few
"
not
common
time
same
talented
with
as
and
teaching of
firmness
and
of
terestedness
disin-
little
gratitude.
in the
stand
way,
if the
Even
every
voice
to
the Accom*
Singing-Teacherson
of Etudes^ Exercises, Scales, "'c.
for
teachers
to
if
as
furiously
struggle for life and
the
ever
peculiar difficulties.
addressed
as
to
very
and
new
paniment
a
the
at
combine
can
;
tle
otherwise,he will experience very lit-
does
Words
It is
limit,will
adopt the
ever
tone
the chest-tones,
their true
to
less
correct
a
tell whether
to
another
much
great patience,perseverance,
pleasure and
presents
with
cultivate
to
maybe,
;
"
used
musician, however
no
singing, unless
is also
excite
strong, overstrained
powerful and
as
Let
cultivated
these
be
restored
are
again
out
come
of
impossible
struggle with
to
There
hopes.
one
we
obliged
although youth may
even
hereafter
must
strength, if
and
Song.
alreadyare
enfeebled
voices
and
death
play their
they
with
had
to
their
paniments
accom-
enter
into
singers. At
beginning of the lesson, the lady singer ought
quite piano,
commence
octave, and
to
sing up and
at
down
/
in
from
the
there
one-lined
through
Thoughts
six notes, without
five
or
and
should
practice
on
drums
and
their
of
keys,
In
such
which
a
a
for
interfere
must
agreeable,but
light and
decided, accompaniment
the
ought,
pupil
in every
feelingfor
the
beautiful ; but
of your
the
Etudes,
song
culture
keys
While
what
as
if you
this
how
the
your
were
is your
then
seek
is the
and
do
not
one
mode
you
? If,for instance, the
effort
firm
and
You
in
your
the
think
to
pound
"
piano-furies ?
accompanying
accompany
a
?
and
true,
sentiment, if you
of
sing
sustains
girlof eighteen
"
companimen
ac-
that
cultivate
of the
to
aware
and
right, the
Is it
rude
inspiresher
to
the
?
a
time
same
encourages
to
way,
the
you
assists and
also
singer,and
watch
such
how
the
at
frequent
a
you
with
Are
?
delicately
firmlyand
can
ing
mak-
strength, to
touch, and
explain
to
me
of
false
a
are
you
singer'sthroat
the
in
force
and
into
them
expenditure
of
and
accompany
strain
while
chords, how
the
tle
gen-
perceive that
mislead
sharp,uneasy
a
bang,
to
not
noise, and
a
movements
necessary
had
pupils to
you
monstrous
of
spreading
that
by
yet you
you
your
such
add
you
delicate
Do
induce
voices, and
?
and
19
of breath,
voice
her
out
if you
as
trumpets.
you
method
bring
1
expenditure
any
solfeggio
;
the
pound
this way
and
guide
Singing,
on
the
the
aria,the
pupil is singing tenderly.
Piano
I2Q
and
you
wishes
take
and
not
who
wanting
connected
out
and
to
neglects
in
the
with
the
A
to
first
the
acquire
to
pay
delicate
touch,
a
good,
attention
;
"
audience
who
constant
of
the
self
your-
singing-teacher
requirement
want
and
shading,
make
to
singer
shading.
pains
delicate
occasion
that
annoy
rough
take
Song^
artistic,
an
of
advantage
your
does
bring
to
heard,
with
and
the
and
three
to
this
is
trifles."
it, is
closely
Visil
Mrs,
at
N.'s,
X.
CHAPTER
VISIT
Mrs.
your
favor, Miss,
the
piano }
Your
piano
of tune,
But
your
me
a
does
Mamma
it tuned
quickly.
see:
so
"
my
evenings
Will
great deal
not
teacher
you
the
on
about
says
is
It
is
regularly once
have
in
a
to
}
it is too
out
attend
expensive
of tune
to
again
old, small-legged piano,
an
mamma
older I shall
in tune
often ; it gets
so
says.
teacher
your
piano always kept
Fatima.
yet
the
{smiling graciously). But, really,the
is out
having
you
of
play something
to
told
has
aunt
Dominie.
so
end
An
playing.
Fatima
have
the
{rather anxiously to Fatima).
Dominie
me
old.
eighteenyears
Feeble.
piano-teacher^ Mr.
the
do
Towards
Dominie.
Aunt.
N.'S.
MRS.
AT
daughter Fatima,
Her
N.
I2i
when
I
The
tuner
comes
; the
time
always saying,
Chickering.
three
months
as
am
is not
up.
But
Dominie.
tuning of
6
your
is your
piano }
teacher
satisfied with
the
Piano
122
Fatima.
the
N.
Mrs.
Song,
Well, he has got used
with
same
and
Dominie
instruments
other
Now,
likes
pet, play
music
he
;
he
It is the
teaches
on.
Mr.
something.
us
is
it.
to
judge
a
of
it ;
his
daughters play too.
Fatima.
Mrs.
Mr.
N.
You
Dominie,
can
shall
I
}
play, mamma
got heaps of
have
select
pray
Dominie.
Fatima
what
But
there.
notes
something.
But
I don't
master,
and
know
which
which
she
Miss
pieces
has
her
at
now
fingers'ends.
Aunt.
They
all fine
are
to her
which
Aunt.
since
ever
good
very
flute.
those
And
the
Dominie.
fine.
Now,
Fatima.
play.
It
difference
no
He
taught
her
just like
Indeed
Miss,
But,
I
!
that
beg
mamma,
a
heap
has
and
}
played
she
has
when
here
lover's
often played the
was
She
old,
charming
were
whole
it all.
years
accompany
teacher
extempore.
ten
teacher.
to
play that
you
played
was
sister used
Oh,
do
has
she
thing.
any
plays.
But
She
choose
It makes
pieces.
she
Dominie.
Dominie,
Mr.
Pray,
solos
a
my
on
the
evenings !
musical
guitar with
them
concert.
must
have
been
very
"
just
say
what
I
shall
Visil
Is
Dominie.
?
not
Aunt
her
must
come
play
them
at
N.
Mrs.
Play
fine
The
"
to
that
don't
Fatima,
"
Huguenots
hold
by
do!
I
Thalberg play
it.
Pray
Aunt
(to
Thai
on
to-morrow.
day.
Fatima
back
any
berg
choral
That
!
dear
child
will
longer.
that's
;
a
very
turn
to
a
Dominie.
in
so.
make
that
magnificent
Oh,
tears
takes
you
to
it
my
too
But
!
eyes
fast:
your
her
the
fingers
her.
Here*
it is.
Will
for her, Mr.
over
famous
suggestions.
}
it since
heard
not
Don't
then
always
N.
Mrs.
it
brings
with
away
have
Dominie).
play
daughters
say
after
day
on
us
Fatima
to
piece.
I heard
such
see
tions,
varia-
bravoura
dedicated
this
busy
sight.
Dominie.
run
be
to
is
He
grand
some
eighteenth birthday, the
You
ing
even-
best.
evening, composing
are
this
here
{^whispers to Dominie).
which
123
teacher
your
will know
He
N's.
Mrs.
at
have
you
Dominie
teacher, perhaps you
expected only
(/ was
I
playing
don't
;
but
like
I
to
will
?
You
are
some
admire^
disturb
turn
ness
good-
make
can
to
the
dom
free-
her
over,
if
you
and
Piano
124
in
plays
bold
a
ability but
way^
with
a
y
fingering,without
the
over
the
on
interrupt with
to
take the tempo
{Fatima
time
her
proper
and
;
gets
foot always
senseless, indistinct
a
in
despair, was
forced
But
might
remark,
"
you
"
quietly )
more
stops playing^
and
amazed,
mother
her
at
tone, without
little
back
leans
looking
without
the
a
^
feeble touchy
such
in
without
not^ however
"
Dominie,
that
manner
^
pages, with
first two
pedaly
piece excitedlyand
the
through
scurries
(Fatima
Song,
with
contemptuous
a
expression^
It is
Aunt.
Fatima.
so
much
that
at
last
four
makes
have
you
play
me
learned
you
She
years.
do
not
has
study
you
I
now
to
it
play
you
practise any
not
My
get
play
not
done
sister
have
I
years
can
pieces ?
your
is what
That
clubs.
But
Dominie.
? do
I
last four
that
sight,so
Aunt.
don't
the
For
in the musical
Etudes
always
that
way
But
Fatima.
at
Don't
sight
Dominie.
only
teacher
My
It is in
great execution, and
expression ?
natural
like her
her
to
youthful enthusiasm.
then, too, her
so.
owing
anywhere
on
likes.
mamma
any
scales
exercises
those
thinks
played
and
.'*
things
for
it is rather
the
a
and
Piano
126
They
in to
go
Song,
All
supper.
hearing the daughter perform
which
piano,
low,
invited
were
The
wine
better
was
bravoura
than
handsomely
the
whispered
of
whole
*
The
Feeble
piano.
Dominie.
The
and
day
birth-
troduce
in-
was
him, giggling, I
"
to
'
it went
;
and
Dominie
he
of the table.
the end
has
lady
young
treated.
his
Huguenots
at
too
Presently
finished
simpered.
together,unheard,
hil"
a
composition, appeared
splendidly."Mr.
talked
and
to
tuned
badly
and
tone
Feeble, having
Fatima
the
the
on
a
to supper
the teacher, Mr.
played
least
at
was
submitted
who
talent, Mr.
Feeble.
Mr.
Indeed
Feeble.
Dominie.
combine
not
Mr.
by
Oh
A.
Czerny's,and
child
was
so
and
was
then
E.
! I
as
those.
you
can
used
a
her
quick
mother
But
see.
our
at
and
her
Is not
it
so
has
?
play
of
But
the
little perseverance,
learning
method
her
scales.
so
had
does
Etudes
some
few
wanted
we
make
to
she
playing "
her
had
volatile,and
pieces for parties,and
with
with
Mueller,
sometimes
so
Feeble, that
it,Mr.
studies
serious
Feeble.
exercises
And
is
How
has !
she
every
to
to
play modern
busy
borne
thing!
ourselves
good fruit,
Visz^
Do
Dominie.
decision,
track.?
Could
of
speak of
Mr.
and,
And,
; her
but
and
in this
upon
in
only
I have
You
me.
music
think
do
can
how
at
present.
public for
in
because
it
sir, if I insisted
have
and
very
children
is
on
few
lessons
to
support,
organist,is dependent
all this
much
weak
more
with
time
it
your
own
dren
chil-
requires to study
!
Fatima
bid each
other
^^
good-night^*)
(Jlippantlyto Dominie).
is
Emma
daughter
she
wife
a
piano.
acquire
and
dear
my
to
pedal for that,
play
to
father, the former
old
{The company
say
not
the
on
little too
company,
Indeed,
city.
my
is
a
piece, with
lady, not
will
older, she
is
the
the
use
exercises, I should
; but
the
is
ing
understand-
young
tone
no
can
touch
fashion.
scales
and
she
besides, she
money,
the
She
Feeble.
strength
The
}
faults, has
other
when
"
right
mechanical
an
of
and
the
on
the
combine
construction
sight
firmness
N.
cultivate
pupil, and
at
Mrs.
set
you
musical
the
playing
"
have
not
of your
powers
her
could
you
127
think, with
not
you
N's,
Mrs,
at
has
not
so
a
very
good
I
believe
player ;
much
talent
! who
told you
as
your
daughter.
Dominie.
Indeed
but
that ?
your
they
eldest
Piano
128
and
Song,
CHAPTER
XL
SECRETS.
\^A
Discourse
delivered
Piano-Playing,
on
to
Audiettce
an
of Lady Pupils.)
Ladies,
a
few
for
weeks
a
As
I
am
about
my
daughters,
with
to
short
time
our
musical
you
will
resume
them
return,
We
"
then
will
only play
not
occasionally talk
friends
will
be
make
which
We
will exclude
and
idle
of the
from
curiosity:
violin
and
'cello,but
and
noble
require
we
On
my
interest.
subjects.
provided
circle
our
suspend
fresh
not
the
are
formances
per-
display.
at
malicious
Your
they
musical
attempt
no
of
sing together,but
and
simple
will
we
with
welcome,
in
reallyinterested
journey
a
meetings.
kindred
upon
made
make
criticism
accompaniment
of those
two
turbing
dis-
elements.
To-day
I wish
the
piano-playing,to
will
may
perhaps
be
sure
be
propound
to
glad
that
a
query
partial solution
to
give
I shall
some
in
regard
of which
attention.
always speak only
to
you
You
upon
Secrets.
subjects
which
crowded
most
Query.
not
are
ladies, who
is
it
enjoy
the
talent, industry, a
aids,
Their
dissatisfied
of
their
in
small
and
frequentlyto
proportion
acquired.
These
by
case,
by
the
confidence
It is the
6*
are
are
in one's
duty
it has
of
to
has
to
self,and
still
execution,
they
have
to
rect
cor-
a
a
be
performed ought,
piece of
exercise
music
mechanical
discouragement,
the
:
of all the
acquired, for
with
in
culties,
diffiand
place of boldness,
command
of teachers, in
1
is
of
been
take
of
comparison
these)
power
the
struggle
apt
(although
critical
with
only embarrassment,
haste
one,
their
certainlyessential
skill which
mechanical
anxious
a
their
demand
to
never
their
; but
which
facility
compositions which
however,
that
are
with
the
performances
the
agreeable rendering
and
the
to
mechanical
the
to
knowledge
performances
own
all
by constantlylisteningto
distinguishedplayers,and
of
and
piano-playing?
in music
for years,
and
sufficient
careful
sufficiently
a
all branches
fostered
in
success
advancement
good music,
the
educated
of
advantages
usually
is
intellectual
in
young,
purpose,
education
to
our
serious
their
extending
been
are
that
with
and
progress
mentioned
even
piano-schools.
Why
necessary
129
of the music.
choosing
studies
foi
Piajw
130
the
of
improvement
within
as
are
in
order
that
acquire
may
a
order
wrist
with
are
to
formed
an
and
and
immortal
friends
and
a
age
depth
our
to
In
fingers
seventh
or
four
in
For
at
or
labor
age
other
least
when
is destructive
is
performed
our
ladies
interpretations,
feeling,of poetry
which
classical
they
are
led
and
by
piano compositions
and
at
a
childhood, and
which
when
with
mechanical
the
in
course
aiming
the
old.
acquired,
of
late.
too
necessary
that
master-works,
teachers
are
years
an
"
this
lessons, according
of musical
deal
talking a great
it
acquire
it laid
by
self-consciousness,
possession of
be
of
?
sixth
the
hand,
for
inspiration in playing,
the
in
urge
usually
in his
livelyinterest
twenty
must
at
spirit,
of tenderness
style of execution,
acquirement
fourteen
foundation
left to be
of all
and
of
flexibility
of the
to
ten
facilityshould
complete
progress,
acquire
to
child
fifteen
also, we
reasons
steady
skilful teacher, may
a
from
persons
pupil,
unsuccessful
begin
a
of the
a
the
usually
construction
the
not
has
(which
lessons),from
to
time
such
only
powers
delicate
and
same
you
with
year,
make
and
gain facility
to
and
may
why
Because
I.
he
been
technique
select
technique, to
mechanical
pure
But
pursuit.
Song,
the
the
retaining at
and
the
by
intellectual
highest
culture.
Secrets.
You
reply:
instruction
in
how,
such
dear
from
enough
in
even
ladies, children
beginning,
talent
make
appearance.
their
would
indeed
vanity
will
seldom
to
delight
the
in
a
play,and
at
sight ;
its
fruit.
school,
or
Let
question.
Do
heavens
when
!
without
that
they
appreciation, easy,
manner?"
it
do
musical
merely
after
the
instinct
may
and
artists
this
the
be
always
After
they
with
salon
"c.,
they play
a
a
little
musical
a
or
even
Mendelssohn,
then
"
to
able
are
music,
of Beethoven,
to
like
effort,and
master,
not
answer
daughters
your
ask
did
they
it
this
well
as
may
whether
Moscheles,
find
you
spring, and
You
graceful
pleasure in playing,and
where
moving
much
can
compositions
Chopin, Hummel,
2.
cases,
severe
Uninterrupted enjoyment
holiday.
Good
to
with
many
unnatural, and
good
to
go
easier
to
great literarymen
strange
the
ought
correct
usuallybe
our
play .'*
and
be
bears
whether
like
in
verance
perse-
these
interesting
your
habit, although
disciples,
find
to
we
continue
to
elementary
faithful
pupils,are
young
of
mode
with
meet
sense
exercises,
if your
even
should
and
My
But
"
131
they
take
great deal, and
enthusiasm.
But, in
in their sixth
case
children
year, you
must
should
sometimes
begin
what
is said.
remember
Piano
132
in the
first
however,
are
sensible
so
teaching beginners. Yon,
supposed
to
have
Let
frequentlyin
piano-teacher:
once
a
and
will
we
Yes
parents
have
in music
; and
so
it when
they
tuned
here
all.
at
to
3. Don't
ladies
:
you
While
our
while
our
must
be
conclude
after
But,
who
be
do
a
while
will
make
not
friends
require
dinners
of the
so
I do
most
regret
console
is
never
refer
personal
suggestion,
of
many
remaining
to
not
a
my
use
consume
a
pianos.
absorbs
education
and
pleasure
no
I have
for
enough
play
the
piano
told you,
me
to
comes,
parents
old
the
well
never
take
the
do
piano
even
excellent
on
with
angry
sparing
larly
regu-
learn
that
But
I have
as
teach
and
is tuned
time
talent,and
no
older.
learned
alas ! balls
that
a
rattling
better
a
teachers, for whom
your
regard, and
have
as
poor,
they stop learning,only
are
and
that
for
heard
life
long
my
children
; but
soon
giftedchildren
themselves,
the
more
quote
cheap teacher,
as
and
I have
beginning, a
a
soon
teacher."
the
the
and
year,
reallywell, then
better
of
course
In
better
which
fortyyears old, and
As
enough.
remark
the
"
had
nevertheless
me
the
is
the
to
of
teachers.
piano,that
regard
method
amusement
your
Song.
of this work, with
chapter
prevalent false
and
the
so
minutes.
much
time,
hours, while,
whole
minutes.
days,
we
Piano
134
for this
exercise
is
I
I should
Well, my
think
But
to
all
pick
nothing
I will
put
put
many
whole
a
That
is
the
way."
hours
do
on
make
is the
in
of
use
a
you
.^
year
worrying
stray minutes, like lost pins }
hour
prevents."
practiseevery
to
Exactly,
tell you
now
would
What
drance
hin-
a
tight gloves. Suppose
my
ladies, how
say,
been
scale.
glove
all those
up
and
left
the
on
"
you
on
it
finger,though
finger has
minutes
those
have
We
weak
can
young
I hear
fourth
fine passage
a
many
Now
better !
Song.
obstinate
That
pretty dry.
to
and
a
when
of my
few
day,
when
nothing
for
secrets
vents.
pre-
piano
performers.
If in
attain
at
success,
least
a
you
the
wish
art, you
any
resolve
must
little,on
unavoidable
other
in
piano-playing,or
work
to
to
day,
every
Sickness
technique.
interruptions deprive
and
you
of
days enough.
Practise
result will
always
be
tenfold.
the time
for
at work
studying for
then
study
your
Do
you
practising,when
strength
necessary
unexhausted
with
and
exercises
five
or
have
for
an
already been
six hours
spirit enough
hour
Have
}
practise
to
or
the
frequentlyuse
not
you
:
energy
more,
music-pieces carefullyand
and
you
the
to
attentively,
Secrets.
as
instructed
teacher
your
exhausted, and
stiff with
and
help
than
that
and
all ?
practice at
no
regular
your
accomplished
rate,
any
before
minutes
any
leisure
my
minutes.
that
In
healthy
mode
beautiful
is
Do
air 1
way
you
your
over
"
listening
you
take
Active
Do
you
father
Do
results
playing.
also
when
mother
you
not
your
correct,
of
neither
is present
"
never
say,
enough healthy exercise
in the
exercise, in all weather, makes
in
have
me
body
No-
?
enduring piano fingers,while
air
this
or
at
foundation
is the
do
you
.?
but
at
or
pedal,
gain, at least, a
playing, which
nor
watch
dinner,
to
ten
your
without
larger 6tudes,
are
have,
with
before
or
utes
min-
ten
obliged
are
something
worse
patience
your
and
playing.
teacher,
keep
to
of
day,
So, I beg of you, let
smaller
pieces.
your
and
is
to
ladies,if you
every
often, slowly, and
the
which
practice,"you
breakfast,
moment.
Practise
only
"hour's
tempted
dear
and, if you
for it ;
usually sufficient
omit
times
mind
your
fingerstired
are
you
elbows,
strength
time, your
a
and
But, my
practiseproperly,several
at
Is not
hands
your
arms
your
?
you
writing, so
with
out
not
are
135
sickly,nervous,
subsisting on
open
strong,
indoor-
feeble, overstrained
Strong, healthy fingers
are
only
too
Piano
136
for
essential
which
for
:
Excessive
and
drawing,
with
much
because
the
the
to
healthy
piano, have
the
on
much
with
crochet, and
who
and
have
have
regard
girlin
to
the
present.
if you
been
educated
assure
you
and
as
bent
or
your
instead
much
^^our
natural
un-
to
plish
accom-
knitting,
to
ladies, you
circumstances,
parents, without
your
the
least, allow
to
hide
poor
her
ents
tal-
privilege of making
aunt's
your
mother
with
pleased
back
an
tion
instructo
dear
obliged
mother's
surprise them
eyes
is
at
bushel, the small
a
able
devoted
My
by
country, who
I
are
should,
expense,
knitting,
least,in my
fortunate
in
born
will be
your
who
ladies
so
is unfavorable
been
embroidering.
for your
collar
I at
never
been
under
a
in music.
;
fingers of
the
discoveries, produces
latest
progress
education
dexterity,while
excitement, which
nervous
ent
consist-
means
no
they deprive
because
and
requisitepliability
according
occupations,
occupations require
those
both
time, but
feminine
by
the
enough.
hours
up
practical musical
earnest,
an
only
not
take
painting,are
or
and
beg for
I still
So
fatiguing
and
piano-playing,
extraordinary execution,
such
walks
your
of
style
instruments.
heavy
minutes
Song.
present
our
requires
our
and
for
or
a
as
birthday
your
fine
piano
if you
days
aunt,
and
formance,
per-
strained
nights
Secrets,
nearly related,
if you
be
true
I will
:
for
footing,even
those
the
woods
the
over
friend
of
elevating enjoyment
of
should
I
beg
who
have
not
what
to
do
humanity,
And
individual.?
in
painting something
to
resemble
we
have
My
so
dear
a
many
rose,
ladies, I
higher
or
for
the
what
;
admire
you,
arts.
gain
can
scarcely can
to
lives
for
happiness
true
advantage
who
is it to be
culture
if you
which
warn
or
several
even
roses
friends,
practice of
of what
real
your
short
it.
too
powers
Our
study
our
fore,
There-
music,
things tolerablywell
ten
the future, for
of the
to
for
talent
to
to
the
by
works.
painting
successful
advantage
piano-playing
loftymaster-
of
panionship
com-
through
life-time,ennobled
without
the
allow
his rambles
dissipate your
art
melodies
agreeable
an
hills ; but
a
not
opportunity
no
able
the
either
are
Of
do
you,
Leave
much.
do
the
be
in
ments.
instru-
different
a
Sweet
afford
may
That
two
on
amateurs.
mere
ers
paint-
flute.
the
stands
least,
at
say
those
them
allow
j^he painter
and
You
and
guitar
instruments
for
theoreticallyso
either.
piano-playing
But
on
though
about
the
on
ing
regards paint-
as
poorly in practice;
but
agree
play
now
music,
in earnest
are
often
may
and
painting
:
And
needle-work.
the
over
137
is
succeed
be
said
it,when
?
generally,do
not
Piano
138
be
of
afraid
the
and
so-called
chiefly,repose,
or
graceful,delicate
It is necessary
acquired by
when
but
hold
have
the
from
mistaken
the
very
fine
classical
ears
may
Italian
heavens
how
!
piano, have
others
as
whom
their
order
the
others.
for
have
music
of
Who
A.
youth)
own
ought,
play only
the
and
finds
their
classical
and
children's
prehensible
by easily com-
that
they
pure
music,
brought
studied
!
Hiinten,
now
sound
music
well
to
as
many
fine
be
the
to
formers,
per-
such, for instance,
"
Czerny, Burgmiiller,
Herz,
What
and
their
with
taste,
^
Gracious
suited
as
up
J. Schmitt,
fault
themselves
soul.
and
daughters,
my
and
culture, with
love
not
played
Kalkbrenner,
impractical,
children
that
body
much
I
and
of their
airs, and
ruined
be
not
degree,
skilful musicians,
are
insignificantfinger exercises,
may
iant
brill-
injured by false progressions,by
be
not
in
certain
practise and
to
touch.
appropriate pieces.
opinion that
beginning,
fine
a
a
foolish
more
music,
to
and
recollection
no
from
learn
to
after those
music
(who perhaps
parents
who
such
studies
still
music,
ticity,
elaslightness,facility,
already been,
mere
is,however,
desire
playing, and
play
to
qualitieshave
It
classical,heavy
if you
especiallyBeethoven's,
it, only
Song,
their
or
a
long
many
musical
want
road
of
a
Secrets,
child
has
travel
to
and
Moscheles,
ought
or
Pathetique !
It
spirit of
times,
the
the
is
one's
methods
possible
but
way,
the
on
they
piano
a
worthy
I
desire
make
noble
that
But
in
So
their
to
I
see
singing,and
long
consider
of
as
"
beg
of
it beneath
the
under
I
as
in
the
in
guidance
they
be
alone
Italian
beginners
to
them.
composers
study
the
art
and
master-works,
well-qualifiedsinging
and
in
teacher,
word
song
to
perience
ex-
him.
several
dignity
my
may,
and
to
a
music.
the
by
they
owe
give
forget
father
allowed
Gluck, Naumann,
Mozart, Salieri,Winter,
above
classical
that
German
their
of
the
never
may
; and
our
old
It
can
audience
to
business
artists,who
pupils what
many
singing
musical
of their
my
view,
bunglers
years
among
of
practised.
instructions, sustained
gratefulremembrance
repay
and
the
ence,
experi-
their
interpretationof
many
in
quite
only dull, clumsy
daughters
my
well-considered
be
in
able,
Sonate
without
skilled
pupils
fine
; not
and
of
those
will
is
Beethoven's
tried
successfully
to
he
prejudiced point
own
Bach's
to
before
condemn
to
Ciamer,
comes
well, though
not
which
for years
have
is
he
or
study
to
even,
from
before
Clavichord,
of
Etudes
through
Chopin,
Well-tempered
139
Hasse, Handel,
others
have
ters,
mas-
Haydn,
done,
"
I
Piano
140
warn
are
to
misled
be
you
The
good.
piano
studies
in
modern
music
also
select
allow
the
voice."
When
you
when
your
attack
in
of such
to
frequentlycommit
Look
classical songs.
know
what
it,which, in
and
song
see
They
are
who
and
breakers,
bring
out
good
nique,
tech-
certain
skil-
a
then
few
only
pieces
who
ings,
voice, the breathother
these
sing
either
adapted
against correct
hundred
who
singing is,and
consequence
a
the
for your
composers,
line
sins in every
and
a
experiment,
pronunciation,and
around
a
developed,
representation,the registerof
the
voice
acquired
unskilled
spiritedbut
choose
prudent
to
been
I have
is
order
is sure,
of
what
piano, so
of
or,
numberless
that which
"in
have
has
singing
the
singing, as
should
modern
scream,
try, by way
may
you
in
you
guidance
of
not
who
you
to
follows
theatres,
our
singing
to
only
the
; under
teachers,
fulness
all
music
by
in
tortures
suited
singing
voice
educated
yourselves
voices
your
piano-playing:as
about
for the
the
allow
to
of
loss
Apply
songs.
just said
voices, which
experience yourselves
may
German
not
sufficientlyin
see
may
indeed,
to
and
tender
by ingenious opinions,and
footstepsof
the
Song.
of your
care
easily ruined,
so
otherwise
in
take
to
you
and
things.
so-called
singers who
have
of their
no
do
taste
not
foi
education, they
Pia?io
142
upon
hard
any
You
must
the
at
one
be
fourth
weak
a
others, if you
wish
to
If it
attention
attracts
it in your
the
on
in
is not
in
the
and
in St.
this
by
his
do
much
cannot
count
up
the
been
your
Henselt, who,
amiable
of
artist,
asked
lous
ridicu-
finger
I cannot
why
ments.
move-
answer
innumerable
me
I
daughters practise}
finger
and
movements
just spoken of;
they practise fewer
hands
your
himself
practice
reason
other.
only pardoned
was
and
modest
a
the
often, practicable,
not
original Adolph
has
How
that
That
scales.
table, then
over
stretch
is
people
hours
;
the
than
the
on
fall,
wrist
in the
hand
one
fingers and
which
minutes
this
do
lie
to
fingers,which
more
Petersburg, makes
times.
ten
with
such
way,
question
stray
to
perceive the
you
times
necessary.
otherwise
now,
Now
your
zealous
though
hand
acquire evenness
of other
backs
the
even
lap,or
with
and
table, or
let them
fifth
and
hundred
used
drum
sciously.
uncon-
time, quite independently of the
a
require to
To
this
your
table, raise the fingers,and
the
particularly
do
do
reading, at
allow
music,
upon
position.
while
example,
Hes
hand
yourselves to
listening to
upon
the
extended
an
accustom
For
while
Song.
object, while
firm, in
something
and
in
but
the
it is certain
the
day
than
Secrets,
thousands
many
who
and
practise
never
and
always correctly
One
thing
But, my
be
a
few
After
of
of
the
ladies, I do
more
than
for the
combine
youth,
not
were
musical
furnish
thousands
be
extensive
yet exhausted
fine
subject
it
from
a
My
thing
few
must
ers
performthe
earliest
If
end.
able
this
of
account
its
annually
to-day
myself
make
if I cannot
in
to
to
performers.
long
too
to
learn
to
any
concert
be
virtuoso
excuse,
my
at
this
to
to
notes."
especially,on
desire
not
Beethoven,
you
education,
been
My
pardon.
must
of
talent, would
of
is
circumstances
reference
lecture
my
with
ear:
my
her
of
great many
Germany
so,
natural
Has
aim
whole
have
must
in
want
sonatas
formation
fact, the
; in
only
guished
distin-
a
Amelia
my
I
:
moving
lecture,
my
fluently,without
not
A
this.
but
ful
watch-
many
whispered
difficult
dear
an
of
Wieck,
and
never
wrongly,
circle
our
Vienna
less
they
experienced,
my
in
Herr
dear
play correctly
you
practised
professional player
a
your
have
consequence
lady
"
nothing,
observed
in
fingers
for
learn
advantageously.
more.
had
eye
43
1
useful
dispose
words.
I
I
}
ask
to
of such
have
not
Piano
144
and
So7zg.
CHAPTER
THOUGHTS
My
and
of any
views
great
to
ON
the
also
kind
mistake
a
If
salon
of
sound
and
styleof playing,intelligence,
for
compensates
to
circumstances,
or
too
or
careless
and
thoroughly
and
of the
and
correct
the
effort to
composition, and
the
music,
from
of
attention
the
In
hearer.
inspiration
"
to
the
that
even
usually
indifferent
an
quently
fre-
composition
the best
its
performance
player
of
mode
enhance
is, the
knowledge
monotonous
too
delicate
increase
tolerably
a
be, according
for
in the
Interest
the
to
music
may
even
as
interpretation
an
dry, cold,
either
touch.
diverts
with
style which
a
stronglyshaded,
a
produce
to
respects satisfactory.The
most
from
technique,
first,,
a
good
generallysufficient
are
in
the
confines
as
salon
or
himself
study
teacher
music
classical
solely.
is
It
art.
music
a
Limited
Beethoven's
play either
to
principal
music.
injurious to
play only
to
of all the
music
best
are
of it,or
play none
PIANO-PLAYING.
the
daughters play
composers,
XII.
the
cution,
exe-
beauty
appreciation
of
classical
revelation
of
an
Thoughts
artistic
and
nature
not
pupil. Therefore, with
in
up
Beethoven,
"c.
nocturne
a
St. Heller
and
Elegance
delicacy,and
the
of
study
opportunities.
does
from
not
carelessness
and
self
able
to
he
for which,
;
much
; it excites
greater
is
three
pieces
is increased,
find him-
distinct
so
;
guarded
knowledge
agreeably surprised to
perform
more
interest
his
and
weary,
artistic
a
Meyer,
this, varietyis much
his
;
is
Beethoven
become
soon
so
C.
and
perfectedin
be
pieces present
learner
by
coquetry, nicety,
cannot
by
Besides
the
sustaining to
he
shading
latter
the
however,
certain
polish,a
sonata
a
by Chopin,
a
take
sonata
a
Schulhoff, Henselt,
or
fine
pupils,I
with
waltz
or
can
"
from
not
advanced
more
lessons, in connection
my
piece by
artist,and
an
145
affectation
empty
from
expected only
be
Piano-Playing.
on
in
character.
"
Expression
itself." But
the
the
stiff
be
cannot
when
are
taught, it
fiftyor
fingers are
expression is imprisoned
is
ever
be
to
delusion.
whom
expression
and
skilfully
7
of
heard
Let
us
has
look
come
correctly,but
J
them,
This
it ?
at
of
his
so
a
few
itself.
When
old, and
sixty years
in
of
come
for it }
look
to
we
must
that
ing
noth-
is
spread
wide-
a
of those
X.
expression
to
plays
con-
C
tinues
crude,
pedantic
little
too
time
crescendi
and
his
Miss
ventures
pia?zo,and
in
regard
brought
she
plays differently
; but
you
like
this
these
integrity of
all
of
time, and
talent,
this sentimental
but
their
very
good players ;
for the
to
they
easilyand
the
use
naughty,
this
would
have
the
skilfully
; the
who
abusive
of
both
have
be
to
have
been
lost all taste
itself in the
improper
right
membering
dis-
want
allowed
they
of
and
They
was
both
now
imitate
difficulty,and
little fellow
?
Do
lished,
embel-
simplicity. If pupils
beauty, and
themselves,
with
but
"But
sweet,
phrases,
manifests
ideal, which
of truth,
They
"
expense
rubato
trash
and
sickly paleness,
the
at
this
expression
developed of itself.
; his
finely?
more
blue, this
musical
forte too
indeed!
style, this
the
the
uses
finely." Truly,
is it
character?
languishing
//.,
a
places ;
more
falsehoods,
rouged
execution
instrument
tedious
violet
gentle
too
inappropriate, often
and
plays differently
Z.
the
to
unsuitable
are
shows
on
plays
are
in at
they
!
he
mechanical
never
diminuendi
ritardandi
;
about
without
and
Song.
monotonous
he
;
shading
heavily,and
coarse
cold,
solicitude
a
strict
and
and
Piano
146
and
domain
left
are
and
neous
erro-
suitable
certainly unskilfully. Even
can
hardly speak
words
more
learns
quickly
to
and
Pia7io-P
Tlioughtson
easilythan
fine, noble
has
what
good
you
others
!
"
and
old
aunt
has
is
right
not
is
quite
feeling,and
who
were
It is
from
obtain
for the
development
gained
from
attention
shall
and
played
which
I have
be
be
paid
shall
touch
correct
been
said
and
used
order
sentiment
other
less with
all my
People
requisite exercises
much
not
; and
that
is how
most
ful
care-
selection
of other
that
nothing
shall
the
accomplished
not
in
be
of
confirmation
already acquired, or
does
be
can
the
in
endanger
before,it
turbing
dis-
singers
important thing
to
pieces,in
dtudes
has
The
are
the
me
viduality
indi-
path.
fine touch.
of this ; but
these.
they
a
their
?
or
of
is
guide
to
that, among
more
attainment
to
what
performers
lamentable
succeeded
it
wrong
or
desire
when
the
on
ridiculous
in the
scholars
the
to
are
musical, but whose
have
but
restraining or
generally acknowledged
things, I
and
prejudicing
without
But
feelingsof
;
otherwise
either
was
it ?
at
the
unnecessary
they
listened
not
force
to
and
facility,
feelings of others,
the
them, unless
has
this
laughed
not
them, without
educate
Who
master
school-
surprised at
rouse
of
What
expressions.
been
That
possible to
147
not
"It
say,
laying,
the
depend
shall
lessons.
upon
undo
As
much
148
Piano
practising,but
the
I
in
spent
of
virtuoso,then
the order
at
This
is the
order
that
I shall
which
are
technique
elbows
can
the
with
virtuosos, who
few
to
which
contribute
the
rapid tempo, forciblyand
whether
after all,depend
the
pupil can
do
it with
upon
learn
or
quickly
more
than
when
the
power.
of
I
many
with
a
great precision,in
It
effectively.
individual
better
the
superior
passages
the
often
A
performance
;
they
than
rigidity
their
rapid octave
fuller
a
unendurable
in this way
always
thrown
are
be
tones
are
shading
stiff wrist
must,
to
wrist, in
The
wrist
exceptions
censure
execute
loose
fore-arm.
and
arm
required
not, however,
most
belong
not
a
loose
a
body,
out
with
with
delicate
without
of
are
the
among
attractive, have
favorably acquired
and
ing
stand-
explain myself more
to
with
more
tapped
or
aid
are
should
do
of hours
misunderstood.
more
permit
tones,
the
day
of the
measure
daughters
me
be
not
and
sound, and
off
the
errors.
a
If the number
playing
to
produced
tender
fired
hours
many
in fact
place for
regard
sharp
fall into
to
that
and
all.
fullywith
more
"
my
or
insignificant,
most
do
How
"
practisinggives
a
practising;
allowed
daughters practise?
your
by
be
constantly asked,
am
Song,
correct
upon
shall hot
pupils
and
and
peculiarities
more
quickly
Piano
150
stand
than
quickly
less
artless.
spurious,
desire
a
stilted
or
The
a
of many
of progress
age
of
I demand
style,wherein
a
?
beauty
to
the
It is useless
which
no
playing
sion, according
"
to
to
verted
beauty,
"
a
Lind
Jenny
is
appreciation
in
piano-playing
can
no,
the
The
"
vague
champions
way
new
of
"
to
about
way,
listened
and
ing
stamp-
of the
moderii
the
conclu
to
come
higher,
deformed
of
this
I have
reasoning,
that
;
iiquite different^
beauty, repugnant
But
gifted
to
"
our
protests against such
period
existed.
of
thrumming
I have
a
a
explain.
one
my
hitherto
defenders
sensibilities of all mankind.
future
has
talk, in
to
; and
called
be
ought
of the
biassed
a
superior beauty supposed
of these
style of beauty
the
than
all the
is this
of many
"
ondary
sec-
the
announces,
higher beauty"
also, "a
consist
is also
ries,
theo-
piano-players.
The
Now,
for
more
by
take
not
udiced,
prej-
other
many
admiration
of this, as
strikingproof
less
disturbed
not
public do
The
view.
public is
receptive, and
more
much
and
sensibility
criticise,and
to
matters.
The
the
perceptions are
Its
by
with
performer,
the
do.
they
appreciation of beauty
Song.
of
characteristics
the
more
and
piano fury which
cold
age
tism.
conserva-
I have
lived
Thoughts
to
which
and
see,
and
new
idea
be
can
and
thing
any
feeling
and
style!
be
with
!
Truly,
for
this
the
throat
operations
produces
monsters,
truths, and
must
comfort
who
have
excesses
be
and
For
lies
insanity,with
in the
readers
these
however
:
!
to
grand
Our
the
still
age
est
plainical
Polit-
greater
of music.
these
isolated
last convulsions
much
shall
we
horror.
v/hen
world
ears
nervous
and
them
hardly ceased,
!
background
new
with
fill humanity
yourselves,my
the
insensible
are
the
again
a
to
open
who
repeated
of madness,
this
What
of
future
the
different
in
as
feelings must
the
a
of
music
called
of
beauty
improvers.
of
devoid
style of music,
!
grand
a
regarded
be
to
lie in wait
who
surgeons,
the
created
be
half-
a
agonies
barbarism,
is
This
future
must
field of
ones
?
reason
be
ever
to
constituted,
differently
system
need
return
of
into
hearer
constructed,
differently
be
must
a
the
of
music
but
in
frightfulmisuse
of terror,
spasms
this
piano,where
treatment
with
puts the
pedals,which
horror
Should
the
upon
rude
and
combined
piano,
concert
feeble attempt,
a
future.
piano
the
wa^i
intelligently
expressed
hour, this abhorrent
both
only
essay,
raging and storming
one
151
just described,
this
preliminary to
a
senseless
not
I have
to this
introduction
Piano-Playing.
on
arrogance
But
stances
in-
of musical
they
Piano
152
be
may
The
time
eager
but
only
endure
I
few
a
such
ought
perform
will
to
of
needy hirelings,will
express
myself more
in
least
at
in
well
as
as
and
have
designated as
excite the
"
is difficult to
in his
same
them, according
with
truth
and
Thus
he
much
three
beauty
want
folly,
of
"future,"
"
I
will seek
and
to
vate
culti-
estedness,
disinter-
perseverance
; and
be
result.
the
have
there
of the latter must
is
These
their
hare-brained
a
a
qualitieswhich
with
ability,
not
the
that
say
accomplished.
proclaim
beauty."
merely
to
rial,
mate-
present, where
be
talent, and
and
abundant
everywhere
certainly do
therefore the possessors
inverted
to
inchned
will refine
with
in the
remaining
trifles
and
v/ill
will remain
his
can
individual
to
are
trifles
pupils;
energy,
who
the
three
to
for it
explanations,in
with
the
the future."
writing ;
I will
is endowed
who
to
venture
*'
It
find
all necessary
preceding chapters ;
teacher
will
meaning,
not
fullywith regard
piano-playing.
task,
by
audience,
no
performances of
my
world
complimentary tickets,
Intelligentteachers,
understand
"
when
the
concert
this
learners.
I he
take
not
easily be practically
explained
more
so
Song,
come
possessors
expression
to
will
proclaimed,
storm.
even
and
root
in
madness
look
"higher," that
;
to
is,an
Thoughts
Rules
You
must
until you
You
ought
notes, and
will
the
fix your
to
to
not
In order
should
to
avoid
with
to
for
that
happily
the
reach
but
strict
What
Such
"
their
skipping
this
is the
feres
inter-
time.
of the
things as
have
we
and
of
times, which
these
belong
to
already reached,"
"
the
"stand-point," not
the
I
"
future
may
by
threshing
as
hollow
of empty
successful efforts,
and
by practical,
of
7*
for
marked
keys, as
language
musicians
for that which
"
is not
nicely in playing,in
flourishes,and
phrases and
straws,
fingering,
you
of the notes.
count
the
once
stand-point which
wish
the
otherwise, you
chords
the
at
reading
learn
boldlyproclaims,
a
;
of false
play
to
always "to keep
use
first.
memory
piece which
looking
prompt
a
must
To
the
piece
on
carefully
very
habit
the
learn
without
order
second
play at sight.
to
should
You
to
a
fingers.
proper
notes,
learn
to
eyes
trust
play any
not
You
begin
153
Pupils.
entirelyconquered
learn
never
Piano
for
never
have
Piano-Playing.
on
ing
striv-
is better.
value
pupils
of your
who
have
method, in the
for
years
structio
in-
played
Piano
154
from
pieces
many
badly, and
whom
better
of
A
way
first
my
which
has
for
;
become
better
with
correct,
inattentive
not
suited
to
a
select
notes
aside
for
fall
must
help
a
wearisome
the
to
the formation
; teach
dominant
and
of various
sub-
passages
be
to
played
strict attention
loose
wrist
; and
take
soon
may
capacity
to
best
of
the
with
such
to
the
to
the
up,
no
with
piece
and
a
den
sud-
if
docility.
music,
salon
piano,
pupil,and
in
of
It is
pupils,even
intentions
adapted
allow
make
to
attempt
the
to
pupil.
light,easy piece of
well
is
acquire
to
entirely unfamiliar
the
a
these
them
improve
;
in
the
playing
seventh,
pay
a
desirable
show
nature
be
the
on
thorough change
should
shall not
of
to
scale
You
the
a
quiet fingerfhg,
legato and
fingersand
possible or
of
that
and
some
into
found
be
laid
be
style
cadences
playing.
they should
but
played
connected
even,
them
lead
things, let
the construction
studies,
and
You
been
piano, 2in"\forte ;
of loose
music,
all
of the diminished
chord
these
to
tottering edifice
more
; and
staccato,
use
Above
mistaken
the
and
dominant
the
upon
frequent inquiry can
a
of different
on
played
First, improve the touch
ground.
a
have
"
confirmed
so
hopeless,and
but
called
are
playing ?
already
time
long
we
chapter.
have
Song,
notes,
this
reply to
and
which
the
im-
Thoughts
proved performance
But, if you
of
manner
that
If, in
Bach.
the
of
aim
instruct
You
in
accordance
after
succeed
and
of
a
a
soprano
give
of
laws
while, but
disputes
voice, ruined
is also
while
a
on
a
character
very
the
of
a
thankless
piano
a
censure
success.
mind
to
teach
must
psychology.
You
compulsion,
precipitation,
useless.
are
your
most
occupy
will
you
pupil
the
up
The
ment
improve-
by over-screaming,
requires prudence, patience, calmness,
and
in which
attain
never
little
a
of the
give
pupil,and
the
take
these, you
sonata,
; you
will
of the
with
of
attention
matters
vain, and
peculiarneeds
will
place
consider, reflect,and
must
the
in
perhaps
instruction, and
your
yourselfv/ith secondary
and
or
improved technique, you
important
habitual, is
aside, and
too
the
old, faulty
recently acquired
ponderous
a
distract
would
the
this
pleasure.
the
yet become
not
for instruction
music
from
the
appropriate ^tude,
prelude by
the
has
by it, lay
some
choose
falls into
playing, and
155
will take
he
he
endangered
instead
of which
still find that
which
technique,
Piano-Playing.
on
and
esty,
mod-
high type generally.
task, and
fair
result
success
may
is
It
rare
always
;
be
accomplished.
I return
once
more
to
the
subject so
frequently
Piano
156
that
discussed,
of
difficulty
and
I may
Song,
relieve
to
try
I have
lady pianists.
our
playing of late, in parties both
well-tuned
and
which
the
which
she
performer was
of
possessed
cities
the
:
We
them
to
ladies,you
waltzes,
of
Chopin,
Schulhoff,
the
You
"
:
might
it makes
be
hearers
on
both
You
still more
so
sides, with
encouragement
with
become
to
acknowledgment
:
honored
mazourkas,
and
other
and
the
to
enable
Funeral
March
pieces by
Tremolo
difference
pieces
with
and
your
apologies
equivocal compliments,
continue
of fine
in
the
hands
you
yourselves are
embarrassed,
the affair ends
by
to
these
master
of this, you
pretty well, but, instead
mastered.
able
their
or
to
My
the
no
play
weariness, anxiety,
and
Trill-Etude,
"c.
parents
again two
over
Mazourka
the
Meyer,
which."
and
and
ages,
could
sufficient
from
timid
to
in various
they
their
nocturnes,
two
that
never
those
same.
embarrassment.
play over
two
the
hearers
of
sorts
always
is
with
various
talent, and
ladies
large,on
on
the
of
ladies
before
this
their
save
all
familiar,and
; from
much
those
of less
the
home
at
but
;
was
from
pieces
teachers
or
result
hear
their
Carl
more
and
pianos, on
from
universal
heard
small
unaccustomed
was
self-possessed
;
the
and
ill-tuned
on
the
same
for
with
course,
the
piano.
Piano
158
have
an
hands,
but
I
pleasant
Allow
the
give
to
me
before
that
order
playing
bass
bass
the
play
rapid tempo,
even
you
will
the
right
with
weak, tame,
before
be
able
well
and
with
you
passages
not
hurried.
end
by itself,otherwise
mazourka
that
ought
to
ease,
count,
ac-
be
very
in
distinctly,and
very
yourself to perform
trust
At
for
least, practise the
the
right
difficult
the
strike
It is
it will
to
it in company,
You
bass
it, in
surely.
on
an
and
hearer
not
go.
very
bold
clusion,
con-
rough,
as
"
You
and
over
hand
rule, If
old
well, all is well."
practisethe skipping
two
attention
the
play
very
or
one
hand
think,
to
company.
it may
or
Play
and
piece by yourself with
slowly in
that
to
of
deal
through
not
must
frequently,particularlythe
begin
up
wisps,
advice.
whole
your
circumstances.
the
difficult
more
of
quicker,during
frequently, perfectly,and
it
o' the
instead
great
a
get
can
you
trying
to
start
correctly,delicately,and
you
that
able
fine
your
notes
will
or
piece
a
give
may
tolerably well,
under
weak
headache,
part
playing
you
when
Even
the
you
often, first slowly, then
weeks,
of
dream
memories.
practise the
and
I
spectres
strange
with
Song,
;
false and
the
wake
I
and
night
uneasy
like
between
and
An
over
you
ought
again
incorrect
Thoughts
or
deficient
bass, without
accentuation, ruins
of the
temper
weeks.
you
Suddenly
You
company.
have
played
But
alas ! the
you
!
You
ulation
bah!
basses
false bass
a
fundamental
la
mimer
still
I
mutter
The
it is necessary
by heart,
in order
left hand.
have
must
give
which
play
an
;
for you
give
is also
delicate
a
of
your
elegant
pieces
mode
otherwise, you
will
rushes
to
know
your
(7 Vj/
of
/^?/-
skipping
perfect
the
piece
attention
that
you
to
shall
otherwise, you
shading.
You
previous prepa-
of
music
of
execution
be
are
musical
whole
without
yourself,
those
You
practice and
;
ir"od-
; your
style
and
accent
weeks.
feebly:
too
"
touch
you
the
at
myself,
to
in
confuse
to
wanting.
essential
clear, sound
a
allow
never
rationy to
in
It
acquired
cannot
to
four
touches
blood
to
deal
for
so
present
requires a great
because
come
more
also ; the
security;
the
is
four
play
to
note, and
finger
tone
grow
face, and
teachers
have
have
last
upon
day
good
know
you
the
Nocturne
fiends
little
frightened
is
jours
every
weak
frightened,and
aunt
nearly
the
flat,and
for
called
are
out
with-
and
:
E
things,
this
piano
more
in
choose
strike
the
the
it
thing
Nocturne
other
159
thing, even
One
played it, among
of tone
depth
every
hearer.
Chopin's
well
very
Piano-Playing.
on
taken
in
company,
is all-important
by surprise
Piano
l6o
difficulties.
by unexpected
specialattention
should
there
fault
one
You
least.
eight years
or
trouble, if it only enables
for
easy,
others
}
of
bows, puts
of
the
you
you
will
will
give, from
seat
on
the
at
over
or
two-lined
unsteadily,either
the
seat,
leaning
and
what
the
a
you
sort
You
either
ments
arrangeare
infer
of
a
of
too
or
too
much
in
hand
before-
ance
perform-
up
you
to
manner
place yourselfbefore
high
he
way
the
sidle
constrained
r, instead
too
the
in which
manner
piano.
in
to
acter
char-
standing,
seldom
we
possible
play and
embarrassment,
one-lined
;
or
you
severance
per-
the
of
off his hat,
takes
as
and
discover
from
play
to
pieces
manner
the
ments
embarrass-
earnestness,
speaking,
It is also
bent
piano lazily,
sit
such
his
household
it.
how
your
and
and
on
about
your
and
to
for
willing
not
two
playing
repaid
prepare
are
easy
from
person
walking, moving,
take
You
ladies, it is
a
to
you
if
Where
been
you
pay
even
another, of
have
are
require industry,
Young
error
:
insignificantpieces ;
choose
tones,
than
important
the
for six
now
always
must
imperfections elsewhere.
less
choose
evils
You
fundamental
the
to
be
is
Song.
ana
the
; in
the
before/*; you
low, only half
to
the
right
Thoughts
or
the left ; in
to
fatal
the
no
confidence, and
control
willing to
look
whom
yt)U
performer
would
not
so
as
it
body,
to
on
and
manner,
to
by
the
their
showy
assertion
expression
of
of
sense
playing by
your
by
a
certain
a
cision
de-
him
prepare
to
in
in
show
You
think
who
genius, by throwing
nonchalance
playing.
the
the confidence
a
their
this way
are,
for
selves
them-
slovenly,lounging
painstaking performance,
a
a
of
to
good
virtuosos
music-stool
try
ing
bear-
for
dangerous
and
face,
of you.
indeed, many
evidence
and
attitude
should
resolution, and
are.
they give
such
the
good opinion
a
There
in
of
are
dential
friendly,confi-
a
in
and
position
and
the
excite
you
body
straightin
if your
in
the
You
on
should
cise
exer-
pedals ?
two
is, still propriety and
you
to
you
piano, if you
with
middle,
carry
Even
that
octave
injurious and
hearers
correct
form
!
require that
of your
to
awakens
expect
you
friend
belong
not
announces
seven
the
the
did
manner
do
the
on
are
discourse
were
in
exactly
feet
with
up
grand
the
and
erect
not
in this way
a
over
sit
not
Your
yourself. How
none
do
if you
as
music-stool.
to
have
word,
a
i6i
Piano-Playing.
on
and
however,
a
superior genius, and
intensityof feeling;
to
is
what
you
ority
superimake
wanting
stranger
to
do
such
it
to
an
only
Piano
l62
from
in
Hummel,
for
of
for
task
the
great
genius.
public.
from
modest
a
earnest
They
for
quite
Field,
as
and
others,
such
had
tations
manifes-
themselves
applied
devotion,
is
such
masters,
of
want
which
powers,
improprieties,
such
with
Song.
Mendelssohn,
Moscheles,
taste
their
own
your
Our
unnecessary.
no
and
embarrassment,
confidence
and
and
with
to
respect
On
Talent.
Miisical
CHAPTER
ON
A
a
Do
by
the
talent
in
interest
in
melodies,
for time,
instinct
for
accenting
for
inclination
notes,
the
young.
of talent;
early evidences
for instance,
an
required foi
is
experience
of musical
deceived
be
not
TALENT.
varied
estimate
correct
XIII.
MUSICAL
and
LARGE
163
feeling
correct
the
important
often
peculiar though
some
perverted style of performance, quick apprehension,
natural
a
aptitude
animation,
gayety
;
if all
even
observable
rapid
in
such
little
have
been
too
make
attention.
I
surprises that
these
twelve
of
or
my
are
not
excite
too
with
met
called
of
I
years
saw
advanced
the
quite
of age
in
their
I
ing
waver-
extraordinary
youths
only
nomena,
phe-
educate
to
upon
upon
marvellous
fourteen
ideal
demand
dreamed
such
thing readily, if
every
much
ing,
hear-
traits
piano prodigies. They
did
nice
these
must
often
I have
understood
at
of
part
a
a
docility,superficial
progress,
or
rapidly,and
not
playing,
early youth, they
sanguine hopes.
and
for
would
; but
my
the
mind's
create
ment
fulfileye,
Piano
164
for
the
then
just
stand-still,
perplexed
seemed
nature
to
itself.
out-lived
interest
improvement
know
to
in
the
have
exhausted
and
piano
Now
for
in
; the
for
desire
little.
time
At
without
piano
;
again, but
but
are
pupil for
a
after
sight
time
at
composition
to
listen
to
halts
in
usually
for
with
or
other
a
short
musical
a
while
the
and
best
at
as
in
occur
female
ars
schol-
lasting,so
studies
;
dis
They
the
by occupying
with
better
or
worse
continuan
dis-
perhaps by
the
attempts
improvisation ; by allowing
players
our
ordinary
an
interval,by
theory, or
a
with
exhaustion.
;
had
spent
progress
so
to
nevertheless
was
ended
significantof
so
vacation
we
finally ranked
not
of serious
at
he
!
scenes
only jingled
pupils, especiallywith
surmounted,
reading
;
players,and
they
couraging, or
he
Similar
all
if so,
began
teacher.
fact with
long
a
we
of other
dozens
natural
open
quite contented,
result
his
:
indifference.
evident
or,
but
this
careless, powerless,
piano,
much
have
generally grew
the
last
still musical,
are
pupil was
felt
music
is
musical
itself, to
even
I allowed
sudden
teacher
The
next.
with
".
the
became
air ! into
journey !
a
intervene
no
fresh
the
do
pupil
spiritless
; he played
into
when
to
The
to
came
what
feeble,his playing suddenly
Out
Song.
fatal moment,
a
"
and
;
him
by giv-
'
Piano
l66
Allow
pupils.
my
First
is far behind
man
from
the
rolls
off the
table,
himself
sounds,
learn
has
already
which
exist
ihe
the
nurse,
Second
instinct
year,
surprises
life.
at
the
shall
has
that
table.
accustomed
this
fingers is
a
for
man
in
This
is
;
"c.
He
the
and
which
is
He
things
papa,
the
to
in
with
seventh
the
two
the
be
quiet
be
entirelyin
to
told
fingers
that
which
he
he
infancy ;
movement
must
of
technique,
tones,
from
animal,
weeks
of the
should
appointed
soon
of words.
first
hear
will
mamma,
pleasant
to
of
plenty
other
movement
child
or
arsenic.
poodle.
that
which,
the
out,
or
hear
fourth
the
useful
hesitation,
herbs
sound
begin
quick
necessary,
daily practice.
nature,
the
correct
been
instinct
brains
evil, besides
developed
produce
quick
age
suspicion
The
years,
little black
From
soon
for
that
the
should
the
his
singing,
observer
we
with
least
is
three
child, without
at
doll, and
the
Now
upon
him
not
Stage.
phases
bad, the
poisonous
dim
are
five
or
the
knocks
or
music,
a
from
The
listen, like
to
two
animal, whose
with
let
Nevertheless,
first
good
injurious.
destroys
pure
the
the
the
distinguishes
describe
to
development.
In
Stage.
Sin^.
here
me
of human
stages
or
and
but
of the
acquired by
accordance
learn.
with
Let
the
Musical
On
cbilci
lay his
it with
hand
out, without
with
almost
first and
the
hand, then
fingers;
with
strike
third
a
a
an
fifth
the
with
fourth, with
the
first with
left hand, and
the
with
right
afterwards
and
this stage
unrulinesS
the
time
at
Beethoven.
musical
same
That
would
with
"c.,
these
to
understand
Fourth
!
manhood.
youth
the
object
me,
gentlemen
ripe
patience
steps
be
must
an
fruits
First
out
have
we
of untamed
of rude
ol
the
appetite,
made
and
in view.
parents, who
and
care
comes
very
much
and
servient
sub-
Do
you
?
your
there
a
"
of
;
not
unfortunate
alternations
shaped,
Excellent
Stage.
the
but
notes;
be
disobedience
simplicity;
all
"
its appearance,
outbreaks
;
twelfth
the
of loftyfancy
quick intelligence,
and
artless
fhe
indeed
freaks
strength ; unexpected
to
makes
^-
Violent
indulgence.
instinct
seventh
the
From
Stage.
At
year.
of
fingers,in
fingers together ;
fourth
then
arm,
together, "c.
Third
see
let him
Then
upon
stretched
the
fourth
third, and
third
first and
both
of
muscles
knock
thumb)
perpendicular position, and
finger extended.
the
the
using
167
^"able,and
the
finger (i.e.,
second,
the
the
upon
first
the
Talent,
the
desire
labor, have
foreshadowing
interesting period.
animal
to
into
the
The
human
Piano
1 68
king-dom. and
often
condition, but
Try
and
Schumann,
"one-fourth
be
careful
unable
to
human,"
awakened,
excited, and
to
in
all
;
brought
clear and
and
modified
into
details of the
and
treat
obliged
in addition
to
obliged
book,
and
for
me
write
that
and
be
to
it ;
my
have
a
earlier
of the
not
be
they
are
very
I
stages
adult
carried
man,
of
I should
the
in
these
ject,
sub-
tedious
thank
not
your
be
I should
a
But
sensitive.
enter
humanity,
on
daughters of
through
be
should
entertaining.
secretly whisper
like the
shall
individuals,
indulgence for
beg your
be
eighteenth
with
If
will.
his
philosophicalwork
might
daughters,
been
in
daughters certainlywould
my
nevertheless,
"
four
chaos
shall
order.
varies
at
stir and
to
tive
creasoul, feeling,
man
year, however,
be
can
adult
the
reflection,con
of this
out
have
conditions
beautiful
The
Fifth Stage,
of the
inward
that
and
developed
that
order
quires
re-
all,requires the
It is necessary
sensibilities
and
above
and,
;
science, the
The
extraordinarybeing,
three-fourths
nature,
year.
Chopin,
and
agitate the
a
This
guidance.
power,
of it.
remembrance
sweet
like.
the
forget his earlier
timidly,Beethoven,
aroused
imagination
most
and
animal
to
Song.
in
revels
gently
now,
is
and
I
ear
many
five stages
must,
that
others,
in the
Cautions.
careful
most
and
know
that
many
strange
manner."
thorough
best.
Here
169
have
you
I
the
ought
to
to
answer
questions.
Cautions^
I
Against
I.
Why
should
of
grimaces, or
an
performance
and
Do
desire
eccentric
devote
your
no
to
or,
that
for
3.
least,you
public performances
geniuses.
yourselfexclusivelyto pieces
show
off your
performer.
power
in
Play good
8
music
Why
octave
in skips, your
facility
trills,your
make
it the
easilyrendered
so
other
fantastic
only produce weariness, satiety,and
at
tention
at-
is,to your
secure
more
unprecedented stretches, or
You
play
to
whole
your
"
the skill of the
to show
always
passages,
want
sorts
tions
exhibi-
only
Direct
are
and
deport yourselves
to
to
public,who
We
not
calculated
have
hand,
endeavor
; and
inattentive.
in
all
marvellous
You
propriety.
business
of the
from
and
and
beautifully,
the
to
2.
foppishness and
?
virtuoso-^\iv^
modesty
display.
attention,
attract
curious
by
musicallyand
interest
to
effect by
create
of
wish
you
also, in playing:
unsuitable
and
showy
any
to
with
others
pianists,and
warn
feats }
disgust,
yourselves ridiculous.
in
a
musical
and
rational
Piano
I/O
The
manner.
public
made
Do
4.
in
much
to
you
of the
piano
of you,
years
; and
hammer,
has
produced
the
tone
the
key
no
?
stormed
have
on
down
more
all your
the
sound,
it
has
as
over
sound
the
set
much
as
it, in your
is to
trembling
in
and
be
piano
facture.
manu-
of the
upon
struction
con-
it,or
ten
obtain
to
its mechanism.
upon
the
string
immediately
that
hammer
you
just
yourselves
pains
with
falls
after
of
it,for the last
its stroke
; and
ample,
ex-
note,
a
played
taken
not
by
which
on
expose
upon
have
for
unfortunatelytoo
are
not
You
new
affectations
understanding
which
resounds
and
by
mention,
apprentice
no
yet you
The
and
I
acquaintance
superficial
a
round
Do
of every
Have
some
even
players
do.
to
derision
have,
that
age,
ridiculous
quiver
to
try
'cello
and
the
foolish
most
You
inclined
the
yourselves
the
times.
violin
as
notonies
mo-
live.
piano-playing.
of
one
modern
Etudes,
fancy, dismal
understand
to
you
make
not
inventions
ends, tedious
without
Learn
in which
world
pourris,
Pot-
heanng
endless, cheap, silly cadences
nothing.
the
of
tired
and
Fantasias
and
Song,
are
of odds
up
Rhapsodies,
mean
a?id
you
in
may
when
caress
motion, fidget
please,and
stagger
intoxicated
passion,
brought
quivering.
"
from
out
It
up
is
it,with
only
the
Cautions,
public
who
quivering
are
171
with
laughter
at
youi
absurdity.
5. Give
the
up
Widely dispersed
too
Even
the
mannerism,
to
Art
should
make
be
the
produce
the
that
impression
the
muscles
the
Teachers
prudence,
and
wide
ten
notes
6. Before
and
a
down
I have
heard
try whether
the
such
to
perform
you
and
up
as
presents any
wide
stretches
of
power
sound
therefore
learn
hand
touch, and
to
be
to
the
doubtful
a
to
reflect
to
you
sition.
acquigreat
use
their
pupils,
extensions
girls,to practise great
To
never
able
to
strike
quite enough.
chords,
scales
beg
even,
lead
can
inclined
only gradually to permit
stretches.
is
an
tunity.
oppor-
must
are
very
the
and
ought
especiallyyoung
and
of
and
one-sidedness.
you
you
I
every
in art
to
style of playing
best
at
and
that
practice
fingers,endangers
makes
again
duce
pro-
frequent
too
beauties
end.
an
much
enfeebles
by
many-sided,
means
too
and
this
and
sometimes
of them
greatest
stretches.
extreme
may
not
employment
an
eager
of
harmonies
effect,but
good
a
practice
few
a
piece,play
appropriate
(but play
from
many
condition
unexpected
a
few
or
passages
stupid trash,
no
in
virtuosos),
of
able
suit-
the
difficulties.
order
instrument
Try carefully
Piano
172
also
unavoidable
the
is
grating pedal
of
if the
piano
also.
Chopin's
not
occur,
of this
of
the
to
dumb
use,
that
with
is not
9. Do
from
this
even
the
bass
effect
the
?
specialarticle
a
in
describe
can
march
piano, and
The
the
on
manner
refer you
I will
aids
in
once
not
practising,
midst
value.
try
hurry
to
"
hand-guide
let your
of
Do
be
may
a
will
nature.
The
not
I have
table
already
:
disadvantages.
crowd
play
too
the
near
is loud
and
while
piece
same
justifiedin breaking
piece,if there
come
is also unnecessary
its
hearers
playing.
You
"
even
careful
very
Strength
key-board,"as
compensated by
not
are
not
"dumb
is
capo.
the
wonder
companiment
obligato ac-
mistakes
and
without
; do
best
its value
da
with
key-board ; although, with
explained.
you
is to suffer
March,
mechanical
no
time
is the
; I
that.
8. Use
the
creaking, rattling,
squeaking pedal sentiment,
a
written
sittingat
more
Funeral
melancholy
7. I have
"
future
the
alas ! who
"
A
pedal.
omissions
the
although
Song*
frightfulannoyance
a
"
of
do
and
off in
continuous
talking,"c.
I
hope
you
again
but I
and
at
can
amusing
will
give me
my
soirees
tell you
which
a
the
:
I
am
honor
no
of your
writer
of
pany
com-
dies,
come-
great deal that is interesting
I have
myself experienced.
Piano
174
Mrs.
Gold.
I
cannot
song
has
taken
beautiful
feel
so
did
not
did
in
come
sometimes
such
he
right, and
overpowered
voice, which
my
is
he
feebly;
in
and
playing, and
little weak
a
I
Forte
sometimes
too
much
too
and
Mr.
:
played
improvised
of me,
hold
Dominie)
to
That
more.
any
well, either
me
accompany
Song.
sing
( Whispers
badly.
not
and
just
now.
Dominie
(aside
singing ! Oh
dear
Gold
Mr.
all
stocks
iny but
has
his
in excellent
only
air
so
dear, you
My
If
!
Jenny
Lind
!
!
it !
superb
I
beg
how
!
of
; it is
divine
something
feeling, Madam
the
in
ing
touch-
this
in
piece,
do
you,
Happiness."
complete
entirelyto
and
song,
Marvellous
!
evening.
rushes
roomy
the
of
wonderful
you
"True
expression, your
yourselfup
this
about
enjoyment
is
close
religious character
Voss,
by
There
your
a
holy
our
!
Charming
is
something
make
heard
have
! There
that
voice
Pious.
Mr.
adjoining
an
wifes hand).
delicious
!
magnificent
could
in
about
earnestly talking
late^ after the
impetuously presses
are
been
evening
rather
evening of
an
!
{who
the
What
Emma).
to
That
sing
will
ing!
truly ravish-
singing,
and
You
give
!
composition
!
in
Extravagances
{Mrs.
Gold
has
and
Pious
drops
the
a
four
into
True
"
where
reins
how
only empty
the
Mr.
tion,
introduc-
been
formed
trans-
virtuoso.
to
rolls
of
"
says,
/
am,
That
counterfeit
a
of
his
up
first verse,
I
speechless^
you
of
feeling.
in
warmth
call
may
You
For
sing.
to
dissimulation.
with
such
You
an
singing
Happiness^' and
about
remains
stocks
with
parlor, depressed and
seems
in the
all
noiu
Gold
Mr.
Emma
bish,
rub-
infelicities.
fi7iishedsinging
recovered.
ejitirely
is
will,however,
amateur
True
the
gives
emotion^)
express my
not
the
more
once
has
Dominie
the
the great
Pious
Gold
converse
his
after
affectation,disgusting,sentimental
frequentlymeet
almost
of
have
the end
at
ought
one
hollow
and
to
by
musician, such
true
"
bars
{aside to Emma).
now
of
which
fancy, he
forged sentiment,
{Mrs.
of
accompanist
fi7idwords
Dominie
earnest,
bars
Forte
Mr.
piano.
the close
at
piness"
Hap-
tremulous, affectedp erformajice
his
to
cannot
hear
tear
eyes; and,
the
while
sentimental
a
Happiness',' Mr.
moistened
True
tJie introductio7i, quite
eight
the
During
175
"
up
wait
hardly
with
fancy,
own
takett
already
can
off
murmurs
Singiiig,"c.
the
verses
to
have
conti7iues
adjoini?igroom.
at
worried)}
the end
of
the
Piano
1/6
in French
says
reached
it
artistic
What
greatness,
Mrs.
confess
when
Gold
{py
that
Jenny
she
remain,
Swede,
a
given
You
Forte.
such
heard
I
retirement.
time
she
; but
therefore
Mr.
has at
Madam,
she
Silver
not
to
to
Creation,"
execute
between
in
hear
with
Adam
Do
me
that
her
bility.
sensi-
have
she
in
might
perfect
there
at
the
and
concerts,
my
a
me.
you
the
and
more
and
you
lived
the excitement
lengthreached).
to
to
concerts
sing
even
{whom
hstened
she
been
had
Stockholm,
examples,
refused
did
If she
me
always
must
direction
giving
I must
satisfied
Paris, where
In
former
its
quite right;
are
was
prevent you
quite
have
true
of her.
just estimate
have
the
soul
yourself.
like
is, and
in
than
my
my
quite well).
She
I
star!
never
would
music.
of
to
utterlycold.
"
models
have
time
Lind
here, she
passionate
Mr.
this
have
out
one
opera
radiant
here.
was
educated
would
its most
as
of
German
you
moments
position must
your
and
in
breathe
to
piano,
Madam,
happiest
presence
elevating the
the
at
beautiful
allowed
the
loss, that
seat
the
the
be
to
tour
a
from
of
one
Song.
Gold).
of
climax
piano, in
the
Mrs.
to
the
count
at
{keeps his
Forte
Mr.
and
of
the
singing
feel inclined
duet
Eve.
from
now,
"
The
in
Extravagances
Mrs.
will
Gold.
sing
play
it
of the
some
and
his latest
us
is "The
Here
by
Singing
Mr.
by.
is
Forte
of that
177
Creation," but
we
just going
to
for the left hand, and
composition
music
"c.
y
tive
romantic, deeply sensi-
Chopin.
Gold
Mr.
Oh,
also
and
!
yes
{rushes in from
Chopin's
played
at
Oh,
how
same
disczcssion^.
mazourka
That
!
by Henselt,
was
Thalberg,
Silver^ Dominie^
and
Emma),
touching!
{tohis daughter). If
in
manner
Happiness,"
should
stock
Oh, it is touching!
(exceptMr,
Dominie
all
house
my
Dreyschock.
All
major
B
his
as
it is
plays it in
accompanied
hear
this
how
the
improvised by
it
Forte
plays
the
True
"
is
not
Polish
after
at
dance
in that
peasants
is,however, idealized
the
mazourka
way,
gives quite boldly the
; but
country
he
played. It, by
it
touching:
rhythm,
will
you
be
not
which
he
Chopin's
manner.
(Mr.
dow7i
time
with
various
keeping
with
several
Jus
these
perilous
octave
foot
He
but
8*
played
with
a
it without
constant
pedal ;
and
and
without
immediately^
pause, the mazourkay which
all
passages^
the
on
up
runs
he
regard
or
rubato, a7id unmusical
I
the
nects
con-
a
presto.
commences
to time
and
rhythm^
jerks,
Piano
lyS
A
few
and
notes
notes
the
struck
were
B
final
that
so
indistinctlypp.,
ritardando
very
great force,
Son^,
mitrmured
were
played
few
and
strings
major
chord
Excellent
!
suddenly
rapidly
very
the
then
;
the
cost
with
and
rattled
a
and
;
life of
one
striftg)
Gold.
Mr.
of
comprehension
the
make
bravissimo
Such
piece !
one
a
artistic
forget
even
What
!
the
formances
per-
change
stock-ex-
!
Gold.
Mrs.
You
The
English
man
can
have
do
penetrated
What
production
Silver
Mr.
to
this
of
; but
soul.
my
minor
sharp
one
to
tuner
will
its tone
What
us!
you
Now
mazourka,
to
evening
sublime
What
would
Gold
lies
sorrow
good
taste
is fallen.
Strauss
that
}
Gold, it would
soon,
Father
performance,
unmusical
replace this broken
break
Mrs.
!
all
Mrs.
musical
a
affected,
defiance
for the
and
F
{aside).
Dominie.
next
secrets
created
no
of nature
secrets
the
prepared for
in this
bids
the
once
Pious.
Mr.
say
the
that
!
nerves
6.
opus
has
at
inmost
my
poet, Pope, holds
penetrate
play
agitate
for it is
be
B
well
to
string.
send
The
already cracked,
Extravagancesin Singing
"c.
179
y
Mr.
{with
Fobte
I
but
never
where
there
Dominie
if the
and
tones
those
it.
must
be
is
that
of
are
is
piano
no
me
battle-field
a
sacrifices.
thinks
He
Emma).
to
produce
tune
Where
did
fettered
he
learn
child,he
My
genius, which
that
noise ;
a
effect
more
than
learned
not
of itself.
comes
his
has
piano-playing}
genius, and
it.
Instruction
then
he
That
would
would
have
played distinctly,correctly, unaffectedly,and
time
of
; but
which
of
that
would
regard
no
pays
be
This
amateur.
an
;
pure.
Dominie.
have
The
to
musical, still it makes
not
out
Emma.
is
mind
{whispers
sound
It- is of
frequently happens
That
consequence.
superior air).
a
much
too
like
uncontrolled
to
the
in
style
hurly-burly,
time, is called
the
soaring
genius.
{Mr.
c
Forte
fiords
raised
minor
with
the
and
;
through
storms
passes without
notes, and
bar
from
note, and
extreme
close ;
He
and
the
next
cojitinues
it two
bar
in
tJie^i,
after a few
the
pedal
the F
sharp
vides
vehemently, di-
accents
gives
to
pause
extra
he
this
till
self-satisfaction
a7id
unconnected
with
greatest rapidity,
mazourka.
one
various
omits
quarter
a
manner
Jie
reaches
ter
quarwith
the
desperate chords
i8o
Piano
the
of
and
diminished
Liszt's
seve7itk,he
Transcription of
D
minor.
b
snaps
The
second
with
Mendelssohn,
Schumann,'
Schubert's
the
the
as
the
made
without
going
are
you
in
Serenade
his
You
mentioned,
by
Prochj
or
mentions
with
moments
of)
should
You
a
is
piece
concludes
use
mentioning
was
ensues
inspired
frequent
perform.
to
two-lined
Silver
Forte
ijt
play
never
previously
what
observe,
as
it
stop
put
a
soon
to
guessing.
All
Mrs.
Mr.
Silver
two
Mr.
thing
the passage.
{aside).
Emma
slower
it modulates
He
ought
a
!
treat
his
made
to
F
Was
to
What
playing !
for information).
Serenade, you
where
rapid playingof
artistic
an
Forte
{asking Mr.
noticed, in the
of the
! what
Dominie).
in
spirituality
What
Gold.
and
Silver
(exceptMr.
gloriousperformance
I
Mr.
{to Emma).
company,
the
finallyMr.
Serenade.
already
Dominie
m
until
the
BeethoveUy
or
it
Serenade
there
'^whether
softpedal, which
he had
Schubert's
string of
Dohler,
or
with
connects
rattle^ and
a
general whispering
or
Song,
only
major,
that
have
bar
one
in your
accidental
played
a
little
just there.
Forte.
must
be
such
In
left
to
the
beautiful
passages,
suggestion
of one's
}
every
feel
Piano
1 82
allegro, sung
voice
black
led
the
to
Song,
with
her
and
she
;
At
eyes.
and
the
thin, piercing, overstrained
frequently rolls up
conclusion, Mrs.
in
arm-chairy
Gold
her
was
exhaustion
great
of
feeling^
Mr.
Pious.
perfecttriumph
Mrs.
Gold,
}
Mrs.
Gold.
No
first introduced
Seville,"and
duet
I had
written
down
many
Garcia
introduce
"
Prophet
of
;
a
rather
Garcia
in
in this
them
in
with
which
in
"
aria
grand
'^
'^
'
the
acting
Somnam-
La
of the
is true, for
^
parties.
when
one,
every
only
musician
a
of them
scale
timidly,it
can
by
people with
the
of
already surprised and
I have
astonishes
own
Barber
The
"
employment
dreaming, faintingAmina
bula," I
"
in
the
idea.
own
its
Viardot-Garcia
charming
grand, rushing, chromatic
artistic
the
them
of your
/^rw^/^
Rosina
as
But
delighted a great
The
the
them
theatre.
is my
delicious
:
celebrates
interpretationsof- Haydn.
in such
those
were
invention
in the
divine art of music
The
divine
the
acquired
on
ness
boldthe
stage.
Emma.
in Vienna,
But, father,Jenny Lind
quite simply,and
with
sang
a
in this duet
pure
religious
spirit.
Dominie.
That
is
'^'^
reason
Mrs.
Gold
says
in
Extravagances
that
Lind
Jenny
listen
to
this at
Gold.
Mrs.
Mr.
play
But
ought
to
will talk
we
kindness, O Lord," and
a
will
Dominie,
your
wards
After-
Mr.
Silver, By thy loving
few
duets
"
by Kucken,
the
wishes, with
company
not
little trifle .?
some
us
with
I will execute
finish, if the
183
home.
Now,
Emma
daughter
"c.
coldly,and
too
passionate models.
more
about
more
sings
Singing,
and
"
Gr4ce
"
aria.
Will
Dominie.
(After Dominie
to the
with
piece):
has
replace this
the
Would
it not
if you
the purpose,
Forte.
with
one
that
the
have
had
We
foot
Do
the
public wish
something strange
appearance
effect ?
}
that
future
not
Do
only
to
not
you
of ill-health
Are
}
I
you
such
my
standing
not
aware
to
perceive also
a
to
?
listen,but
produces
^.^^
am
the
more
entirelymistake
see
pany)^
com-
of
forgive old people
You
not
and
hands
both
used
must
y^"
in
the
towards
easier
been
up
lefthand,
the
for
extended
observations.
stand-point.
Etude
Forte,after the conclusion
{to Mr.
pedantic
hand
right
strides
Forte
finished^Mr,
piano, and plays his
Dominie
my
first to
me
string}
broken
Mr.
allow
you
see
that
cal
great musi-
Piano
184
Mr.
and
Pious.
the
hand
Do
Is it
afterDom
company
with
us
Mrs.
famous
D
leave
take
Camilla
Emma.
flat major^
I
am
it. The
I
am
!
A
sorry
very
that
obliged to
have
evening, and
I
go
many
deliver.
to
Emma,
I have
deal of
Chopin'smusic.
justheard
Have
heard
you
Pleyelplay Kalkbrenner's
}
concerto
us
:
{toEmma).
}
patheticNotturno
to
in A
timent.
sen-
that
Let
latest nocturnes.
his two
Gold
now
this
Miss
Silver.
brilliant music
that
Ballad
obliged
flightsof
Parisian
Dominie.
soirees
more
minor
I shall be
{at the conclusion). Bravo
Forte
playfinelya great
hear
right hand
previouslyannounced
letters of introduction
you
the
left
the
attentive^
were
obliged to
Mr.
by
me.
such
inie had
good beginning, Mr.
two
less
no
played Chopin^s
(Emma
to
produced by
Well, probably feeling has
}
so
myself to
accustom
am
and
false direction
a
Mr.
is
special charm
?
Dominie.
to
feel the
not
you
playing alone,
taken
Song
effect which
fine
extended
and
for
Do
you
example,
flat.
in D
not
charming
also
Dohler's
Mr.
X.
the
play
such
beautiful,
latelyplayed
enchantingly.
I know
sister,Cecilia.
it.
I
am
teaching it
to my
little
in
Extravagances
Will
Dominie.
Chopin's
I
two
will
the
singing,
Opus
nocturnes,
"
"
Grdce
48
At
aria.
185
play
to
now
?
of
conclusion
the
about
nothing
say
her
allow
you
"c,
Singing
midnight
the
there
"
grand
was
a
and
seasoned
evening.
supper,
with
washed
bitter
down
recollections
with
sweet
of
this
wine,
cal
musi-
1
86
Piano
and
Song,
CHAPTER
XV.
CONCLUSION.
I
from
received
HAVE
old
an
the
following communication
literaryfriend,
eighth chapter, requesting
I
whom
to
his
sent
of
opinion
my
it
:
"
Motto.
There
that
which
times.
My
Friend,
dear
What
chapter.
trifles"
to
fine
taste,
be
to
me
if you
points,even
have
and
deep feeling,
lives, and
vulnerable
many
that
who
dares
parts t
a
You
do
enemies
you
make,
have
long
more
not
ago
seem
among
advanced
to
all
eighth
your
"the
three
most
important
them
simply
Who
ear.
the
attack
grow
you
good
from
to
and
they
read
described
had
outlives
Muller.
von
three
superlative excellence
he
eternal
facetiouslycall
you
seem
is
JOH.
"
I
"
unreceptive times, but
are
pects
ex-
in which
age
it, in
its
harsh
and
consider
those
as
who
beyond
most
greeable,
disahow
think
these
Conclusion.
three
points. Just
said
"
about
"
inner
the
fine
of
nature
expressions
forward
with
too, when
now,
"
intellectual
the
187
in
the
superlative degree.
our
intelligent age
and
about
Do
about
when
such
it, you
come
trifles in
that
imagine
you
discern
cannot
much
so
and
unseasonable
three
your
is
music,
future,"
the
invented
are
there
hidden
your
satire ?
You
that
say
and
trifles,
the
Voild, tout
Himmel,
has
After
not
Voila
Weber,
v.
all about
Beethoven,
them
a
distorted
are
depraved
"
piano fury,"
Fr.
others
the
cal
hypocritiwith
the
of production.
power
!
bethink
allowed
are
Mendelssohn,
Beethoven.
some
themselves
and
genuine three trifles,
we
few
taste,
Now
combined
ear,
"c.,
}
period of
the
comes
tout
of the
a
heard
that, musicians
and
and
C. M.
and
superficiality
necessary
more
Ferdinand, Dussek, Clementi,
required
feeling,and
After
experience.
compositions appropriate for it.
trifles
three
Louis
them,
the
and
and
three
!
Hummel,
who
"
of your
in need
are
knowledge
necessary
for Prince
As
times
our
to
take
Schubert,
of
the
same
return
once
to
son,
rea-
delight in Chopin,
Robert
Schumann,
sort, and
again in
1
Piano
88-
These
they
succeeded
were
latest
very
distorted
with
and
taste,
these
with
with
and
touch
poor
embellished
have
and
flights,"
"
friend,you
singing, belong only
are
case.
lifeless
Are
forward
century.
of
with
that
the
our
cover,
the
rap
the
"
points
stand-
to
to
They
times
past
a
will
age.
will
You
be
derided
Sontag.
be
remain
over
through.
seen
ideas
kept
in
ignorant
voice
advancing
you
tic
artis-
"
especiallyyour
singers,to
style of
modern
are
Henrietta
and
willing
you
philosophers will
imagine
more
Lind
images
magnificent
go
and
last
Jenny
your
now
free," "c.
be
must
about
with
are
of the inner
misunderstanding
influence,
the
what
piano, and
already surmounted,"
Genius
old conservative
from
of
exhibitions
the
;
ity,
audac-
necessary
higher beauty,"
"
been
"
are
for tone
ear
no
still
a
trifles
compositions
Your
date
three
the
upon
The
a
the
consciousness,"
My
The
;
title-pages. In addition, there
talk about
which
introduces
appropriate pictures on
attractive
is much
progress
vanity, senseless
"intellect."
call
they
significance.
required
are
immeasurable
strength, a
of much
and
feeling,
no
imitators
dry
mere
piano fury.
extravagant
now
Song.
by
not, however,
were
Finally,the
more
and
age
the
Can
}
?
a
glass
of the
you
not
Progressive
knuckles.
stop for
They
a
You
couple of