y expressed this thought in "Past and
Present" thus: "The latest Gospel in this world is, 'Know thy work and
do it.' Blessed is he who has found his work; let him ask no other
blessedness. He has a WORK, a life purpose; he has found it and will
follow it."

QUESTIONS ON STYLE, INTERPRETATION, EXPRESSION
AND TECHNIC OF PIANO PLAYING

SERIES VI

TERESA CARRENO

1. Why should imitation be avoided?

2. Should individuality in playing be developed at an early age?

3. Should individual physical peculiarities be taken into consideration?

4. In what way was Edward MacDowell's individuality marked?

5. How may individuality be developed through poetry?

6. What studies are particularly useful in the cultivation of brilliant
playing?

7. What is the best remedy for careless playing?

8. How must superficial pupils be treated?

9. Why is the study of musical history so important?

10. What may be called the sculptor of individuality in music?

[Illustration: O. GABRILOWITSCH]

OSSIP GABRILOWITSCH

BIOGRAPHICAL

Ossip Gabrilowitsch was born in St. Petersburg, February 8, 1878. His
father was a well-known jurist of the Russian capital. His brothers were
musical and his first teacher was one of his brothers. Later, he was
taken to Anton Rubinstein who earnestly advocated a career as a
virtuoso. Accordingly he entered the classes of Victor Tolstoff at the
St. Petersburg Conservatory, then under the supervision of Rubinstein
himself. His frequent personal conferences with the latter were of
immense value to him. Thereafter he went to Vienna and studied with
Leschetizky for two years. He has made many tours of Europe and America
as a piano virtuoso and has also appeared as an orchestral conductor
with pronounced success. He was a great friend of the late Mark Twain
(Samuel L. Clemens) and married one of his daughters.

(The following conference was conducted in English.)

IX

ESSENTIALS OF TOUCH

OSSIP GABRILOWITSCH

"Modern pianoforte teachers in many instances seem to make deliberate
attempts to complicate the very simple matter of touch. In the final
analyses the whole study of touch may be resolved into two means of
administering force to the keyboard, _i. e._, weight and muscular
activity. The amount of pressure brought to bear upon the keys depends
upon the amount of arm weight and upon the quickness with which the
muscles of the hand, forearm, full-arm and back permit the key to b