g them over and over. I
find the concertos of Hummel particularly valuable in this connection,
and there are parts of some of the Beethoven concertos that make
splendid musical exercises that I can practice without the fatal
diminution of interest which makes a technical exercise valueless.

STUDY ABROAD

In the matter of foreign study I think that I may speak without bias, as
I am engaged in teaching and am not likely to resume for some years. I
am _absolutely convinced_ that there are many teachers in America who
are as good as the best in Europe. Nevertheless, I would advise the
young American to secure the best instruction possible in his native
land, and then to go abroad for a further course. It will serve to
broaden him in many ways.

I believe in patriotism, and I admire the man who sticks to his
fatherland. But, in art there is no such thing as patriotism. As the
conservatory of Paris provides, through the "Prix de Rome," for a three
years' residence in Italy and other countries for the most promising
pupil, so the young American music students should avail themselves of
the advantages of Old World civilization, art, and music. There is much
to be learned from the hustle and vigorous wholesome growth of your own
country that would be of decided advantage to the German students who
could afford a term of residence here. It is narrowing to think that one
should avoid the Old World art centers from the standpoint of American
patriotism.

VERSATILITY

Few people recognize the multifarious requirements of the concert
pianist. He must adjust himself to all sorts of halls, pianos and living
conditions. The difference between one piano and another is often very
remarkable. It sometimes obliges the artist to readjust his technical
methods very materially. Again, the difference in halls is noteworthy.
In a great hall, like the Albert Hall of London, one can only strive for
very broad effects. It is not possible for one to attempt the delicate
shadings which the smaller halls demand. Much is lost in the great hall,
and it is often unjust to determine the pianist's ability by his
exclusively bravura performances in very large auditoriums.

CULTIVATING FINGER STRENGTH

The concert pianist must have great endurance. His fingers must be as
strong as steel, and yet they must be as elastic and as supple as willow
wands. I have always had great faith in the "Kleine Pischna" and the
"Pischna Exercises" in cultivati