s born at Wilna, Russia (Russian Poland), February
13, 1870. His father was a physician. When Godowsky was nine years old
he made his first public appearance as a pianist and met with
instantaneous success--success so great that a tour of Germany and
Poland was arranged for the child. When thirteen he entered the Royal
High School for Music in Berlin as the _protege_ of a rich banker of
Koenigsberg. There he studied under Bargeil and Rudorff. In 1884 he
toured America together with Ovide Musin, the violin virtuoso. Two years
later he became the pupil of Saint-Saens in Paris. In 1887 and 1888 he
toured France and visited London, where he received a command to appear
at the British Court. In 1890 he returned to America and made this
country his home for ten years, appearing frequently in concert and
engaging in several tours. In 1894-1895 he became head of the piano
department of the South Broad Street Conservatory, Philadelphia. He then
became director of the Piano Department of the Chicago Conservatory and
held this position for five years. In 1900 Godowsky appeared in Berlin
and was immediately recognized as one of the great piano masters of his
time. In 1909 he became director of the Master School of Piano Playing
connected with the Imperial Conservatory of Vienna (a post previously
held by Emil Sauer and F. B. Busoni). His success as a teacher has been
exceptional. His compositions, particularly his fifty studies upon
Chopin Etudes, have won the admiration of the entire musical world.

[Illustration: LEOPOLD GODOWSKY]

X

THE REAL SIGNIFICANCE OF TECHNIC

LEOPOLD GODOWSKY

IDEAS UPON TECHNIC OFTEN ERRONEOUS

"It is quite impossible in a short talk to earnest music students to do
more than discuss a few of the more important points in the subject
proposed. It may safely be said at the start, however, that the popular
conception of technic is quite an erroneous one and one that deserves
correction. It is highly necessary that the student should have a
correct attitude of mind regarding this matter. First of all, I
distinguish between what might be called mere mechanics and technic.

"The art of piano playing as a whole seems to divide itself into three
quite distinct channels when it is considered from the educational
standpoint. The first channel is that of mechanics. This would naturally
include all that pertains to that branch of piano study which has to do
with the exercises that develop the hand fr