eat Russian masters of to-day and yesterday.
Tchaikovsky, Rimsky-Korsakov, Cui, Glazounov, Rachmaninov, Moussorgsky,
Arensky, Scriabine and others, have all had a powerful bearing upon the
musical thought of the times. Their virility and character have been due
to the newness of the field in which they worked. The influence of the
compositions of Rubinstein and Glinka can hardly be regarded as Russian
since they were so saturated with European models that they might be
ranked with Gluck, Mendelssohn, Liszt and Meyerbeer far better than with
their fellow-countrymen who have expressed the idiom of Russia with
greater veracity."

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

SERIES XI

JOSEF LHEVINNE

1. Is music a part of the daily life of the child in the Russian home?

2. In what does the Russian teacher of children take great care?

3. Why are Russian pianists famed for their technical ability?

4. How are examinations conducted in Russia?

5. What would be thought of the Russian pupil who attempted pieces
without the proper preliminary scale work?

6. Need the practice of scales be mechanical and uninteresting?

7. Why do some pupils find technical studies tiresome?

8. How does Russian musical progress in composition differ from that of
other musical nations?

9. Has Russian music influenced the progress of other musical nations?

10. How may the compositions of Rubinstein and Glinka be regarded?

[Illustration: V. DE PACHMANN]

VLADIMIR DE PACHMANN

BIOGRAPHICAL

Vladimir de Pachmann was born at Odessa, Russia, July 27, 1848. His
first teacher was his father, who was a musical enthusiast and a fine
performer upon the violin. The elder de Pachmann was a Professor of Law
at the University of Vienna and at first did not desire to have his son
become anything more than a cultured amateur. In his youth de Pachmann
was largely self taught and aside from hearing great virtuosos at
concerts and modeling his playing to some extent after theirs he had no
teachers until 1866 when he went to the Vienna Conservatory to study
with the then celebrated teacher, Joseph Dachs. Dachs was a concert
pianist of the old school. Academic perfection was his goal and he could
not understand such a pupil as de Pachmann who was able to get results
by what seemed un-academic means. After one year with Dachs de Pachmann
toured Russia with great success and since then has made rep