ation entirely by
yourself with both hands together; but we must not be too much in a
hurry about it, and must give time to it. All restless urging, all
hurry, leads to inaccuracies in playing. You have learned enough for
to-day; but you may play the other variations, with the whole finale,
straight through, that you may not get into the habit of stopping at the
difficult passages which you have already learned.

_Fourth Lesson._ New exercises for striking stretches, and for the
extension of the hand and fingers; but this must be done prudently,
that the sound touch, which is always of the first importance, shall not
be endangered. Besides this, the repetition of the exercises learned in
the preceding lessons; but all to be played with a certain shading and
delicacy. We will to-day begin at the beginning, with the introduction.
I will now make amends for my want of regularity, and show you that I
can begin at the beginning, like other people; but all in good time.
To-day, in those portions of which you have acquired a mastery, we will
give particular attention to the expression, and to the correct use of
the pedal. If what I suggest to you with regard to the shading at any
place does not entirely correspond to your understanding of the piece,
or to your feeling, you must at once express your difference of opinion,
and ask me for the reason of my view. You, perhaps, do not like to play
this place _crescendo_, but _diminuendo_. Very well; only play it finely
in your own way; it will also sound very well so. I proposed the
_crescendo_ there, because the feeling grows more intense; perhaps, in
the next lesson, you will acknowledge that I was right. This place I
should play a very little slower, though without a striking
_ritardando_; then a little faster here; do you think it ought to be
played _crescendo_ or _diminuendo_? We must try in this variation to
present nicely shaded little pictures. Here you might use more energy
and decision. This place you should play merely with a correct
mechanical execution, but without special expression; for we require
shadow, in order that the succeeding idea, eminently suggestive of the
theme, shall be brought out with more brilliancy. In general, the whole
must be made to sound natural, without musical pretension, and as if it
were the production of the moment; and should not create a distorted,
overdrawn effect, or exhibit modern affectation.

Each piece that I undertake to teach you