not the hollow shell of acquired
technic. THEY KNEW. Oh, for more students in these days with the genuine
thirst for real musical knowledge, and not merely with the desire to
make a superficial exhibition at the keyboard!

REAL MUSICAL UNDERSTANDING

I am told that some teachers lay a great deal of stress upon the
necessity for the pupil learning the source of the composer's
inspiration. This is interesting, of course, and may help to stimulate a
dull imagination. However, I am convinced that it would be far better
for the student to depend more upon his real musical understanding. It
is a mistake to suppose that the knowledge of the fact that Schubert was
inspired by a certain poem, or that Chopin was inspired by a certain
legend, could ever make up for a lack of the real essentials leading to
good pianoforte playing. The student must see, first of all, the main
points of musical relationship in a composition. He must understand what
it is that gives the work unity, cohesion, force, or grace, and must
know how to bring out these elements. There is a tendency with some
teachers to magnify the importance of auxiliary studies and minimize the
importance of essentials. This course is wrong, and must lead to
erroneous results.

PLAYING TO EDUCATE THE PUBLIC

The virtuoso must have some far greater motive than that of playing for
gain. He has a mission, and that mission is to educate the public. It is
quite as necessary for the sincere student in the home to carry on this
educational work. For this reason it is to his advantage to direct his
efforts toward pieces which he feels will be of musical educational
advantage to his friends. In this he must use judgment and not overstep
their intelligence too far. With the virtuoso it is somewhat different.
He expects, and even demands, from his audience a certain grade of
musical taste, a certain degree of musical education. Otherwise he would
work in vain. If the public would enjoy the greatest in music they must
hear good music until these beauties become evident.

It would be useless for the virtuoso to attempt a concert tour in the
heart of Africa. The virtuoso is expected to give his best, and he
should not be criticized by audiences that have not the mental capacity
to appreciate his work. The virtuosos look to the students of the world
to do their share in the education of the great musical public. Do not
waste your time with music that is trite or ignoble. Life is