r _virtuosos_ cannot dispense with facility in octave
passages; it is a necessary part of it.

I will now consider the use of loose and independent fingers, in playing
generally; _i.e._, in that of more advanced pupils who have already
acquired the necessary elementary knowledge. The fingers must be set
upon the keys with a certain decision, firmness, quickness, and vigor,
and must obtain a command over the key-board; otherwise, the result is
only a tame, colorless, uncertain, immature style of playing, in which
no fine _portamento_, no poignant _staccato_, or sprightly accentuation
can be produced. Every thoughtful teacher, striving for the best result,
must, however, take care that this shall only be acquired gradually, and
must teach it with a constant regard to individual peculiarities, and
not at the expense of beauty of performance, and of a tender, agreeable
touch.

* * * * *

It is a mortifying fact for many critics, artists, composers, and
teachers, that the general public show much more correct judgment and
appreciation of a fine, noble piano performance, and of a simple, pure,
well-taught style of singing, and also understand the characteristics
of the performer, much more quickly than they do. The sensibility and
appreciation of beauty with the public is less prejudiced, less
spurious, more receptive, and more artless. Its perceptions are not
disturbed by theories, by a desire to criticise, and many other
secondary matters. The public do not take a biassed or stilted view. The
admiration for Jenny Lind is a striking proof of this, as is also the
appreciation of many piano-players.

* * * * *

The age of progress announces, in piano-playing also, "a higher beauty"
than has hitherto existed. Now, I demand of all the defenders of this
new style, wherein is this superior beauty supposed to consist? It is
useless to talk, in a vague way, about a beauty which no one can
explain. I have listened to the playing--no, the thrumming and
stamping--of many of these champions of the modern style of beauty; and
I have come to the conclusion, according to my way of reasoning, that it
ought to be called a higher,--quite different, inverted beauty,--a
deformed beauty, repugnant to the sensibilities of all mankind. But our
gifted "age of the future" protests against such cold conservatism. The
period of piano fury which I have lived to see, and which I have jus