y from the idea of sheer beauty of sound; in that sense he
was a pagan. I doubt if Strauss has it. One cannot foresee how the
future will judge the music of to-day; what will it think of Schoenberg?
I am holding in abeyance any opinion I might form regarding his work
till I have had more time to know it better. I can only say I have
heard his string Quartet three times. The first time I found much in it
to admire; the second time I was profoundly moved by certain parts of
it, and on the third occasion I felt that the work, especially the
latter part, contained some of the most beautiful music I had ever
listened to.

"In regard to the technical training my pupils receive, it is not so
easy to formulate my manner of teaching. Each pupil is a separate study,
and is different from every other. As you well know, I am not a 'method
man': I have little use for the so-called piano method. To be a true
teacher of the piano is a high calling indeed; for there are many
pedagogues but comparatively few real teachers. I make a distinction
between the two. A pedagogue is one who, filled with many rules and much
learning, endeavors to pour his knowledge into the pupil; whereas the
true teacher seeks to draw out what is in the pupil. He strives to find
what the pupil has aptitude for, what he likes to do and can do best.
The teacher must be something of a psychologist, or how can he correctly
judge of the pupil's temperament, his tastes, his mentality, and what to
do for him?

"When a new pupil comes, I must make a mental appraisement of his
capacity, his likelihood to grasp the subject, his quickness of
intelligence, his health, and so on. No two pupils can be treated in the
same way. One who has little continuity, who has never followed out a
serious line of thought in any direction, must be treated quite
differently from one of an opposite mentality and experience. It would
be useless to give Bach to the first pupil, it would only be a waste of
time and patience: he could not comprehend the music in any sense; he
would have no conception of the great things that Bach stands for. Such
a course of treatment would only make him hate music; whereas to one of
a more serious and thoughtful turn of mind, you might give any amount of
Bach.

"A student with a poor touch and undeveloped hand, must go through a
regular course of training. The hand is first placed in position, either
at the keyboard or on a table; the fingers are taught to