concerto, which I had not played for some
time. I tried it over on the piano and found I could not remember it. My
first idea was to get out the score and go over it; the second was to
try and recall the piece from memory. I tried the latter method, with
the result that in about three hours and a half I had the whole concerto
back in mind. I played the work ten days later without having once
consulted the score. This goes to prove that memory must be absolute and
not merely mechanical.

"Students think they cannot memorize, when it would be quite easy if
they would apply themselves in the right way. I ask them to look
intently at a small portion, two measures, or even one, and afterward to
play it without looking at the notes. Of course, as you say, this can be
done away from the piano; the notes can even be recited; but there are
other signs and marks to be considered and remembered, so when one can
be at the piano I consider it better.

"Piano playing is such an individual and complex thing. I do not require
nor expect my pupils to play as I do, nor interpret as I interpret, for
then I would only see just so many replicas of myself, and their
individuality would be lost. I often hear them play a composition in a
different way and with a different spirit from the one I find in it. But
I don't say to them, 'That is wrong; you must play it as I do,' No, I
let them play it as they see and feel it, so long as there is no sin
against artistic taste.

"I trust these few points will be helpful to both player and teacher.
The latter needs all the encouragement we artists can give, for in most
cases he is doing a good work.

"Volumes might be added to these hurried remarks, but for that my time
is too limited."

IV

SIGISMOND STOJOWSKI

MIND IN PIANO STUDY

Mr. Sigismond Stojowski, the eminent Polish pianist and composer, was
found one morning in his New York studio, at work with a gifted pupil.
He was willing to relax a little, however, and have a chat on such
themes as might prove helpful to both teacher and student.

"You ask me to say something on the most salient points in piano
technic; perhaps we should say, the points that are most important to
each individual; for no two students are exactly alike, nor do any two
see things in precisely the same light. This is really a psychological
matter. I believe the subject of psychology is a very necessary study
for both teacher and student. We all need to kn