e the
distinguishing charm that this trinity brings to pianoforte playing.
Whether the performer is a 'genius' who has carefully developed the
performance of a masterpiece until it evidences that distinguishing mark
of the authoritative interpretation, or whether he is a 'talent' who
improvises as the mood of the moment inspires him and never plays the
same composition twice in anything like a similar manner, he need not
fear the rivalry of any machine so long as he preserves his
individuality, character and temperament.

GENIUS AND WORK

"The fault with many students, however, is the very erroneous idea that
genius or talent will take the place of study and work. They minimize
the necessity for a careful painstaking consideration of the infinite
details of technic. To them, the significance of the developments of
Bach, Rameau, and Scarlatti in fingering means nothing. They are content
with the superficial. They are incapable of comparing the value of the
advances made by Von Buelow, Tausig and other innovators whose lives were
given to a large extent to the higher development of the technic of the
instrument. They struggle laboriously at the keyboard, imagining that
they are dealing with the problem of technic, when in reality they are
doing little more than performing a drill in a kind of musical
gymnasium--a necessary drill to be sure, but at the same time quite
worthless unless directed by a brain trained in the principles of the
technic of the art.

QUESTIONS IN STYLE, INTERPRETATION, EXPRESSION
AND TECHNIC OF PIANOFORTE PLAYING

SERIES VIII

LEOPOLD GODOWSKY

1. How may the mechanics of playing be distinguished from the larger
subject of technic?

2. With what has technic to do?

3. What channel in the study of pianoforte must the pupil develop most
thoroughly?

4. Name three epochs into which the subject of touch may be divided.

5. How does weight playing differ from the high angular playing of the
Czerny epoch?

6. How should the fingers rest in legato playing?

7. What may be said of the sensitiveness of the finger tips?

8. By what device may pianism descend to a lower level?

9. What qualities must the student preserve above all things?

10. Will genius or talent take the place of study and work?

[Illustration: KATHARINE GOODSON]

KATHARINE GOODSON

BIOGRAPHICAL

Miss Katharine Goodson was born at Watford, Herts, England. She
commenced the study of music at so very you