ies according to the space which is to be filled. Greater
effort must be put forth in a large hall, to make the tone carry over
the footlights, to render the touch clear, the accents decisive and
contrasts pronounced. In order to become accustomed to these
conditions, the studio piano can be kept closed, and touch must
necessarily be made stronger to produce the desired power.

INTERPRETATION

"A great artist's performance of a noble work ought to sound like a
spontaneous improvisation; the greater the artist the more completely
will this result be attained. In order to arrive at this result,
however, the composition must be dissected in minutest detail.
Inspiration comes with the first conception of the interpretation of the
piece. Afterward all details are painstakingly worked out, until the
ideal blossoms into the perfectly executed performance. Paderewski
endeavors uniformly to render a piece in the manner and spirit in which
he has conceived it. He relates that after one of his recitals, a lady
said to him:

"'Why, Mr. Paderewski, you did not play this piece the same as you did
when I heard you before,'

"'I assure you I intended to,' was the reply.

"'Oh, it isn't necessary to play it always the same way; you are not a
machine,' said the lady.

"This reply aroused his artist-nature.

"'It is just because I am an artist that I ought at all times to play
in the same way. I have thought out the conception of that piece, and am
in duty bound to express my ideal as nearly as possible each time I
perform it.'

"Paderewski instructs, as he does everything else, with magnificent
generosity. He takes no account of time. I would come to him for a
stipulated half-hour, but the lesson would continue indefinitely, until
we were both forced to stop from sheer exhaustion. I have studied with
him at various times. One summer especially stands out in my memory,
when I had a lesson almost every day."

Speaking of the rarely beautiful character of Paderewski's piano
compositions, Mr. Stojowski said:

"I feel that the ignorance of this music among piano teachers and
students is a crying shame. What modern piano sonata have we to-day, to
compare with his? I know of none. And the songs--are they not wonderful!
I love the man and his music so much that I am doing what lies in my
power to make these compositions better known. There is need of pioneer
work in this matter, and I am glad to do some of it."

II

ERNE