down laws and see that these laws are obeyed, like _gendarmes_.
It is possible, of course, by means of systematic training, to educate a
boy so that he could play a concerto which he could not possibly
comprehend intelligently until he became at least twenty years older;
but please tell, what is the use of such a training? Is it artistic? Is
it musical? Would it not be better to train him to play a piece which he
could comprehend and which he could express in his own way?

"Of course I am not speaking now of the boy Mozarts, the boy Liszts or
other freaks of nature, but of the children who by machine-made methods
are made to do things which nature never intended that they should do.
This forcing method to which some conservatories seem addicted reminds
one of those men who in bygone ages made a specialty of disfiguring the
forms and faces of children, to make dwarfs, jesters and freaks out of
them. Bah!

ORIGINALITY THE ROAD TO PERMANENT FAME

"Originality in interpretation is of course no more important than
originality in creation. See how the composers who have been the most
original have been the ones who have laid the surest foundation for
permanent fame. Here again true originality has been merely the highest
form of self-expression. _Non e vero?_ When the composer has sought
originality and contrived to get it by purposely taking out-of-the-way
methods, what has he produced? Nothing but a horrible sham--a structure
of cards which is destroyed by the next wind of fashion.

"Other composers write for all time. They are original because they
listen to the little inner voice, the true source of originality. It is
the same in architecture. Styles in architecture are evolved, not
created, and whenever the architect has striven for bizarre effects he
builds for one decade only. The architects who build for all time are
different and yet how unlike, how individual, how original is the work
of one great architect from that of another.

THE MOST ORIGINAL COMPOSERS

"The most original of all composers, at least as they appear to me, is
Johann Sebastian Bach. Perhaps this is because he is the most sincere.
Next I should class Beethoven, that great mountain peak to whose heights
so few ever soar. Then would come in order Liszt, Brahms, Schumann,
Chopin, Weber, and Mendelssohn. Schumann more original than Chopin? Yes,
at least so it seems to me. That is, there is something more
distinctive, something more indicative