oncentrated work daily seems to me sufficient. Of course it is the
quality of practise that counts. The old saying, 'Practise makes
perfect,' does not mean constant repetition merely, but constant
thinking and listening. I advise students to stop after playing a
passage several times, and think over what the notes mean. This pause
will rest ears and hands; in a few moments work can be resumed with
fresh vigor.

"I have been so frequently asked to write on the subject of technic that
I have done so in a few articles which have been printed in a small
booklet. From these you may see what my ideas are on these points. I do
very little teaching myself--just a few talented pupils; they must be
something out of the ordinary. You see, I do not live in London
continuously; I am here only about four months of the year; the rest of
the time is spent traveling all over the world. Only that small part of
the year when I am stationary can I do any solid work. Here it is
generally quiet enough: the Zoological Garden is not far away, however,
and sometimes I have the roaring of the lions as an accompaniment to my
piano.

"I am always increasing my repertoire, though I find the public does not
care for new things; it prefers the old. It may listen to the new if
forced to, but it will not attend a recital unless various familiar
things are on the program.

"I have made several tours in America. The rush of travel from place to
place over there, is fatiguing, but I feel that your people are very
appreciative. You demand the best, and concert giving in America is so
costly that a manager can afford to exploit only the highest artists.
Here in London, where the expense is only about two hundred dollars,
say, to get up a recital, almost any one can scrape together that sum
and bring himself or herself before the public. In America the outlay is
four or five times greater. No wonder that only a very good artist can
take the risk."

On leaving, Mr. Hambourg took us to another room, where he showed us
with much satisfaction, a very valuable painting of the old Italian
school, by Ghirlandajo, of which he is very fond.

XII

TOBIAS MATTHAY

WATCHING THE ARTIST TEACHER AT WORK

One of the first things accomplished after my arrival in London was to
seek out Tobias Matthay, the composer and teacher, for an echo of his
fame had reached me across the water.

Matthay has done much to make the principles of piano technic so clear
a