ges of his career receives about one hundred roubles an
appearance in Russia, while the mature artist receives from 800 to 1000.
The rouble, while having an exchange value of only fifty cents in United
States currency, has a purchasing value of about one dollar in Russia.

WHY RUSSIAN PIANISTS ARE FAMED FOR TECHNIC

The Russian pianist is always famed for his technical ability. Even the
mediocre artists possess that. The great artists realize that the
mechanical side of piano playing is but the basis, but they would no
sooner think of trying to do without that basis than they would of
dispensing with the beautiful artistic temples which they build upon the
substantial foundation which technic gives to them. The Russian pianists
have earned fame for their technical grasp because they give adequate
study to the matter. Everything is done in the most solid, substantial
manner possible. They build not upon sands, but upon rock. For instance,
in the conservatory examinations the student is examined first upon
technic. If he fails to pass the technical examination he is not even
asked to perform his pieces. Lack of proficiency in technic is taken as
an indication of a lack of the right preparation and study, just as the
lack of the ability to speak simple phrases correctly would be taken as
a lack of preparation in the case of the actor.

"Particular attention is given to the mechanical side of technic, the
exercises, scales and arpeggios. American readers should understand that
the full course at the leading Russian conservatories is one of about
eight or nine years. During the first five years, the pupil is supposed
to be building the base upon which must rest the more advanced work of
the artist. The last three or four years at the conservatory are given
over to the study of master works. Only pupils who manifest great talent
are permitted to remain during the last year. During the first five
years the backbone of the daily work in all Russian schools is scales
and arpeggios. All technic reverts to these simple materials and the
student is made to understand this from his very entrance to the
conservatory. As the time goes on the scales and arpeggios become more
difficult, more varied, more rapid, but they are never omitted from the
daily work. The pupil who attempted complicated pieces without this
preliminary technical drill would be laughed at in Russia. I have been
amazed to find pupils coming from America who have