ufficient
clarity. In the modern idea something more crisp, scintillating and
brilliant is needed. So we use a half staccato touch. The tones, when
separated a hair's breadth from each other, take on a lighter, more
vibrant, radiant quality; they are really like strings of pearls. Then I
also use pressure touch, pressing and caressing the keys--feeling as it
were for the quality I want; I think it, I hear it mentally, and I can
make it. With this manner of touching the keys, and this constant search
for quality of tone, I can make any piano give out a beautiful tone,
even if it seems to be only a battered tin pan.

TONE WHICH VIBRATES THROUGH THE WHOLE BODY

"Weight touch is of course a necessity; for it I use not only arms and
shoulders, but my whole body feels and vibrates with the tones of the
piano. Of course I have worked out many of these principles for myself;
they have not been acquired from any particular book, set of exercises,
or piano method; I have made my own method from what I have acquired and
experienced in ways above mentioned.

ON MEMORIZING

"In regard to memorizing piano music I have no set method. The music
comes to me I know not how. After a period of deep concentration, of
intent listening, it is mine, a permanent possession. You say
Leschetizky advises his pupils to learn a small portion, two or four
measures, each hand alone and away from the piano. Other pianists tell
me they have to make a special study of memorizing. All this is not for
me--it is not my way. When I have studied the piece sufficiently to play
it, I know it--every note of it. When I play a concerto with orchestra I
am not only absolutely sure of the piano part, but I also know each note
that the other instruments play. Of course I am listening intently to
the piano and to the whole orchestra during a performance; if I allowed
myself to think of anything else, I should be lost. This absolute
concentration is what conquers all difficulties.

ABSTRACT TECHNIC

"About practising technic for itself alone: this will not be necessary
when once the principles of technic are mastered. I, at least, do not
need to do so. I make, however, various technical exercises out of all
difficult passages in pieces. I scarcely need to look at the printed
pages of pieces I place on my recital programs. I have them with me, to
be sure, but they are seldom taken out of their boxes. What I do is to
think the pieces through and do mental wo