rder
to teach singing well. I endeavored, without notes, to make the
necessary exercises so interesting that the attention of the pupils
always increased; and that they even, after a short time, took great
pleasure in a sound, tender, full, singing tone; an acquirement which,
unfortunately, even many _virtuosos_ do not possess. In this way, we
made an opening at the beginning, not in the middle: we harnessed the
horse _before_ the wagon. The pupil now obtained a firm footing, and had
something to enjoy, without being tormented at every lesson with dry
matters to be learned, the advantage of which was not obvious to him,
and the final aim of which he did not perceive. Until a correct touch
has been acquired, it is of no use to talk about a fine singing tone.
How can we expect to arouse an interest by mere toneless tinkling, while
stiff, inflexible fingers are struggling with the notes; while the pupil
sees only his inability to do any thing right, and receives nothing but
blame from the teacher; while, at the same time, so much is to be kept
in mind, and he must be required to observe the time, and to use the
right fingers? Poor, stupid children! Later, after teaching the notes, I
did not fall into the universal error of selecting pieces which were
either too difficult, or such as, though purely musical, were not well
adapted to the piano; but I chose short, easy pieces, without prominent
difficulties, in the correct and skilful performance of which the pupil
might take pleasure. Consequently, they were studied carefully, slowly,
willingly, and with interest, which last is a great thing gained; for
the pupil rejoiced in the anticipation of success. The struggle over
single difficult places destroys all pleasure, palsies talent, creates
disgust, and, what is worse, it tends to render uncertain the
confirmation of the faculty already partially acquired,--of _bringing
out a fine legato tone, with loose and quiet fingers and a yielding,
movable wrist, without the assistance of the arm_.

You suppose that talent is especially wanting, and not merely good
teachers; for otherwise, with the zealous pursuit of piano-playing in
Saxony, we should produce hundreds who could, at least, play correctly
and with facility, if not finely. Here you are mistaken: we have, on the
contrary, a great deal of musical talent. There are, also, even in the
provincial cities, teachers who are not only musical, but who also
possess so much zeal and t