blic without weariness. In every day practise one often does not need
to play _forte_ nor use the pedals; a tone of medium power is
sufficient. Suppose, for instance, you are studying the Chopin Etude Op.
10, No. 12, with the left hand arpeggio work. Every note and finger must
be in place, every mark of phrasing obeyed; but during practise hours
you need not give the piece all its dashing vigor and bravura at every
repetition. Such a course would soon exhaust the player. Yet every
effect you wish to make must be thoroughly studied, must be in mind, and
used at intervals whenever a complete performance of the piece is
desired.

"As I said before, it is often difficult to control the impulse to 'let
loose,' if the work is an exciting one. At a recent rehearsal with the
Symphony Orchestra, I told the men I would quietly run through the
concerto I was to play, merely indicating the effects I wanted. We
began, but in five minutes I found myself playing with full force and
vigor.

"In regard to methods in piano study there seems to be a diversity of
opinion, resulting, I think, from the various ways of touching the
keys--some players using the tip and others the ball of the finger.
Busoni may be cited as one who employs the end of the finger--Pauer
also; while the Frenchman, Cortot, who has an exquisite tone, plays with
the hand almost flat on the keys, a method which certainly insures
weight of hand and arm. Of course players generally, and teachers also,
agree on the employment of arm weight in playing. The principles of
piano technic are surely but few. Was it not Liszt who said: 'Play the
right key with the right finger, the right tone and the right
intention--that is all!' It seems to me piano technic has been pushed to
its limit, and there must be a reversal; we may return to some of the
older methods of touch and technic.

"The vital thing in piano playing is to bring out the composer's
meaning, plus your own inspiration and feeling. You must study deeply
into the composer's idea, but you must also put your own feeling,
intensity and emotion into the piece. And not only must you feel the
meaning yourself, but you must play it in a way to touch others. There
are many pianists who are not cultured musicians; who think they know
their Beethoven because they can play a few sonatas. In music 'knowledge
is power.' We need all possible knowledge, but we also need to feel the
inspiration. One of the greatest teachers of our