hnic to Rachmaninoff
and made him so thoroughly acquainted with the best literature of the
instrument that his compositions became recognized at once as those of a
thorough master of the keyboard. His teacher in composition was Arensky,
who in addition to his skill in the technic of the art had a fund of
melody which is a delight to all those who know his works. In 1891
Rachmaninoff won the great gold medal at the Moscow Conservatory and his
work as a composer commenced to attract favorable attention throughout
all Europe. In addition to this his ability as a pianist attracted wide
notice and his tours have been very successful. His compositions have
been cast in many different forms from opera to songs and piano pieces.
His most popular work is _the Prelude in C Sharp Minor_ which is in the
repertoire of all advanced students. His appointment as Supervisor
General of the Imperial conservatories of Russia was one of the highest
distinctions that could be conferred in the land of the Czar. The
correct pronunciation of the name as given by the composer is
Rokh-mahn-ee-noff.

(The following conference was conducted in German.)

XVI

ESSENTIALS OF ARTISTIC PLAYING

S. V. RACHMANINOFF

FORMING THE PROPER CONCEPTION OF A PIECE

It is a seemingly impossible task to define the number of attributes of
really excellent pianoforte playing. By selecting ten important
characteristics, however, and considering them carefully, one at a time,
the student may learn much that will give him food for thought. After
all, one can never tell in print what can be communicated by the living
teacher. In undertaking the study of a new composition it is highly
important to gain a conception of the work as a whole. One must
comprehend the main design of the composer. Naturally, there are
technical difficulties which must be worked out, measure by measure, but
unless the student can form some idea of the work in its larger
proportions his finished performance may resemble a kind of musical
patchwork. Behind every composition is the architectural plan of the
composer. The student should endeavor, first of all, to discover this
plan, and then he should build in the manner in which the composer would
have had him build.

You ask me, "How can the student form the proper conception of the work
as a whole?" Doubtless the best way is to hear it performed by some
pianist whose authority as an interpreter cannot be questioned. However,
many