certain that they practise fewer hours in the day
than many thousands who learn nothing, for they never practise and
never have practised wrongly, but always correctly and advantageously.

One thing more. After my experienced, watchful eye had observed in our
circle many moving fingers in consequence of my lecture, a distinguished
lady of Vienna whispered in my ear: "But, my dear Herr Wieck, my Amelia
is not to be a professional player: I only want her to learn a few of
the less difficult sonatas of Beethoven, to play correctly and fluently,
without notes." My dear ladies, I do not aim with you at any thing more
than this. A great many circumstances must combine for the formation of
fine concert performers; in fact, the whole education, from the earliest
youth, must have reference to this end. If this were not so, Germany
especially, on account of its natural musical talent, would be able
annually to furnish thousands of _virtuoso_ performers.

Has my lecture been too long to-day? I ask your pardon. My desire to
make myself useful to you must be my excuse, if I cannot dispose of such
an extensive subject in a few words. I have not yet exhausted it.

CHAPTER XII.

THOUGHTS ON PIANO-PLAYING.

My daughters play the music of all the principal composers, and also the
best salon music. Limited views of any kind are injurious to art. It is
as great a mistake to play only Beethoven's music as to play none of it,
or to play either classical or salon music solely. If a teacher confines
himself to the study of the first, a good technique, a tolerably sound
style of playing, intelligence, and knowledge are generally sufficient
to produce an interpretation in most respects satisfactory. The music
usually compensates for a style which may be, according to
circumstances, either dry, cold, too monotonous or too strongly shaded,
and even for an indifferent or careless touch. Interest in the
composition frequently diverts the attention of even the best player
from a thoroughly correct and delicate mode of execution, and from the
effort to enhance the beauty of the composition, and to increase its
appreciation with the hearer. In the performance of classical music,
inspiration--that is, the revelation of an artistic nature and not
empty affectation--can be expected only from an artist, and not from a
pupil. Therefore, with more advanced pupils, I take up in my lessons, in
connection with a sonata by Beethoven, a nocturne or w