ces of life, but remember, I have never stopped, and to-day I am
just as keenly interested in my progress as I was many years ago as a
youth. The new repertoire of the works of Liszt and Brahms and other
composers demanded a different technic, a bigger technic. What exquisite
joy it was to work for it. Yes, _mio amico_, work is the greatest
intoxication, the greatest blessing, the greatest solace we can know.
Therefore work, work, work. But of all things, my good musical friends
in America, remember the old German proverb:

"'_Das mag die beste Musik sein
Wenn Herz und Mund stimmt ueberein._'"

("Music is best when the heart and lips (mouth) speak together.")

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

SERIES XII

VLADIMIR DE PACHMANN

1. What does originality in pianoforte playing really mean?

2. State something of the evils of the forcing methods of training
applied to young children.

3. Have the compositions of the most original composers been the most
enduring?

4. Name seven of the most original composers for the pianoforte.

5. Must the pupil continually help himself?

6. What is considered the most difficult scale to learn?

7. Is a great virtuoso obliged to practice years in order to secure
results?

8. How may piano study be compared with the polishing of beautiful
jewels?

9. Tell what characteristics a great teacher must have.

10. What lies at the foundation of pianistic greatness?

MAX PAUER

BIOGRAPHICAL

Prof. Max Pauer was born in London, England, October 31, 1866, and is
the son of the eminent musical educator, Ernst Pauer, who settled in
England in 1851, and aside from filling many of the foremost positions
in British musical life, also produced a great number of instructive
works, which have been of immeasurable value in disseminating musical
education in England. His work on _Musical Forms_ is known to most all
music students. Prof. Max Pauer studied with his father at the same time
his parent was instructing another famous British-born pianist, Eugen
d'Albert. At the age of fifteen he went to Karlsruhe, where he came
under the instruction of V. Lachner. In 1885 he returned to London and
continued to advance through self-study. In 1887 he received the
appointment at the head of the piano department in the Cologne
Conservatory. This position he retained for ten years, until his
appointment at Stuttgart, first as head t