_no_ fixed and infallible rule
in regard to it, for that would only be another limitation to the
feeling, the poetry, the emotion of the executant's _thought_. The
quality and degree of power are due to contrast, and the choice of the
degree to be used lies with the player's understanding of the content of
the piece and his ability to bring out this content and place it in all
its perfection and beauty before the listener. This is his opportunity
to bring out the higher, the spiritual meaning."

XIV

A VISIT TO RAOUL PUGNO

TRAINING THE CHILD

"An audience has been arranged for you to-day, with M. Raoul Pugno; he
will await you at four o'clock, in his Paris studio." Thus wrote the
courteous representative of _Musical America_ in Paris.

It had been very difficult to make appointments with any of the famous
French musicians, owing to their being otherwise engaged, or out of the
city. I therefore welcomed this opportunity for meeting at least one of
the great pianists of France.

At the appointed hour that afternoon, we drove through the busy rue de
Clicy, and halted at the number which had been indicated. It proved to
be one of those unpromising French apartment buildings, which present,
to the passer-by, a stern facade of flat wall, broken by rows of
shuttered windows, which give no hint of what may be hidden behind them.
In this case we did not find the man we sought in the front portion of
the building, but were directed to cross a large, square court. The
house was built around this court, as was the custom in constructing the
older sort of dwellings.

At last we discovered the right door, which was opened by a neat
housekeeper.

"M. Pugno is not here, he lives in the country," she said, in answer to
our inquiry. (How difficult these French musicians are to find; they
seem to be one and all "in the country"!)

"But, madame, we have an appointment with M. Pugno; will you not be good
enough to see if he is not here after all?"

She left us standing, but returned almost immediately with the message
that M. Pugno had only that moment entered his studio, to which she
would conduct us.

[Illustration: RAOUL PUGNO]

In another moment we had crossed the tiny foyer and were standing within
the artist's sanctuary. At first glance one felt as though in an
Oriental chamber of some Eastern monarch. Heavy gold and silver Turkish
embroideries hung over doors and windows. The walls were covered with
many rar