he right hand can be produced. As your right hand is not yet
tired, play to me now several times, first slowly and then faster, the
passages which I gave you from the introduction. When the right hand
becomes a little fatigued, take a portion from the finale for the left
hand. You may also try over the adagio; but I recommend for your special
practice the part for the right hand in the third variation. You cannot
make a mistake about it, if you do not try to play it too fast, and if
you carefully observe the fingering indicated. Now I will play the theme
to you, as nearly as possible as I heard the famous tenor Rubini sing
it. You see I place the fingers gently upon the keys and avoid raising
them too high, in order not to injure the nice connection of the tones,
and to produce a singing tone as far as possible. At the end of the
lesson you will play the theme to me once more.... I perceive you play
it with too much embarrassment, and not freely enough. It will go still
better two days hence, if you play it frequently during that time,
slowly, and become quite accustomed to it. In addition, you will
practise industriously every thing which we have gone through,
especially the first variation; but you must always do it with interest,
and never with weariness. Of course you will practise _without notes_
all the little exercises for the touch, and for the fourth and fifth
fingers, and the cadences.

_Third Lesson._ Other little exercises; trills, scales with shading for
one hand alone and for both together; the skipping basses, &c. We will
begin to-day with the bass part of the second variation. You observe
that often there are even eighth notes in the treble, while in the bass
there are even triplet eighth notes. In order to play these properly
together, even with only mechanical correctness, it is necessary that
the left hand shall acquire a perfectly free and independent movement,
and shall bring out the bass with perfect ease. You must pay special
attention to any weak notes, and accustom yourself not to give the last
triplet, in each bar, and the last note of this triplet, too hurriedly,
too sharply, or with too little tone. Notice how much difficulty this
equal playing of the triplets occasions to the right hand, which moves
in even eighth notes. While you play the left hand, I will play the
right: you must listen as little as possible to my playing, and preserve
your own independence. You must learn to play this vari