ght to force the feelings of others!" That is quite
unnecessary; but it is possible to rouse the feelings of others, to
guide and educate them, without prejudicing their individuality of
feeling, and without restraining or disturbing them, unless they are on
the wrong path. Who has not listened to performers and singers who were
otherwise musical, but whose sentiment was either ridiculous or
lamentable?

* * * * *

It is generally acknowledged that, among other things, I have succeeded
more or less with all my scholars in the attainment of a fine touch.
People desire to obtain from me the requisite exercises for the
development of this; but not much can be gained from these. The
important thing is _how_ and _when_ they are to be used; and that most
careful attention shall be paid in the selection of other etudes and
pieces, in order that nothing shall be played which shall endanger the
confirmation of the correct touch already acquired, or shall undo what
has been accomplished in the lessons. As I have said before, it does not
depend upon much practising, but upon correct practising; and that the
pupils shall not be allowed to fall into errors. I am constantly asked,
"How many hours a day do your daughters practise?" If the number of
hours spent in practising gives the measure of the standing of a
_virtuoso_, then my daughters are among the most insignificant, or in
fact should not belong to the order at all.

This is the place for me to explain myself more fully with regard to
playing with a loose wrist, in order that I shall not be misunderstood.
The tones which are produced with a loose wrist are always more tender
and more attractive, have a fuller sound, and permit more delicate
shading than the sharp tones, without body, which are thrown or fired
off or tapped out with unendurable rigidity by the aid of the arm and
fore-arm. A superior technique can with few exceptions be more quickly
and favorably acquired in this way than when the elbows are required to
contribute their power. I do not, however, censure the performance of
many _virtuosos_, who execute rapid octave passages with a stiff wrist;
they often do it with great precision, in the most rapid _tempo_,
forcibly and effectively. It must, after all, depend upon individual
peculiarities whether the pupil can learn better and more quickly to
play such passages thus or with a loose wrist. The present style of
bravoura playing fo