ic of a deeper
or more worthy character by gradual steps in that direction. In my own
case I was fortunate in having the advice of mature and famous
musicians, and as a child was given music of a serious order only. I
have always been grateful for this experience. At one of my first New
York concerts I had the honor of having Theodore Thomas as first
violinist, and I well remember his natural bent for music of a serious
order, which was in a decided contrast to the popular musical taste of
the times.

THE IMPORTANCE OF STUDYING MUSICAL HISTORY

Every composer has a pronounced individuality. To the experienced
musician this individuality becomes so marked that he can often detect
the composer's style in a composition which he has never heard. The
artist studies the individuality of the composer through the study of
his biography, through the study of musical history in general and
through the analysis of individual compositions.

Every music student should be familiar with the intensely necessary and
extremely valuable subject of musical history. How else can he become
familiar with the personal individualities of the great composers? The
more I know of Chopin, Beethoven, Scarlatti or Mendelssohn as men, and
the more I know of the times in which they lived, the closer I feel to
the manner in which they would have wished their compositions
interpreted. Consider how markedly different are the individualities of
Wagner and Haydn, and how different the interpretations of the works of
these masters should be.

Strauss and Debussy are also very different in their methods of
composition. Strauss seems to me a tremendous genius who is inventing a
new musical language as he goes. Debussy does not appeal to me in the
same manner. He always seems to be groping for musical ideas, while with
Strauss the greatness of his ideas is always evident and all-compelling.

In closing, let me say that _Time_, _Experience_ and _Work_ are the
moulders of all individuality. Few of us close our days with the same
individualities which become evident in our youth. We are either
growing better or worse all the time. We rarely stand still. To the
musician work is the great sculptor of individuality. As you work and as
you think, so will you be. No deed, no thought, no hope is too
insignificant to fail to influence your nature. As through work we
become better men and women, so through work do we become better
musicians. Carlyle has beautifull