ation to the whole. There must be an internal harmony
between all the parts. Otherwise the interpretation will mar the great
masterpiece. The difficulty is to find the bearing of one movement upon
another. Even the themes of subjects of the conventional sonata have a
definite interrelation. How to interpret these themes and yet at the
same time produce contrast and unity is difficult. It is this difference
of interpretation that adds charm to the piano recitals of different
virtuosos. There is no one right way and no one best way, but rather an
indefinite margin for personal opinion and the exhibition of artistic
taste. If there was one best way, there are now machines which could
record that way and there the whole matter would end. But we want to
hear all the ways and consequently we go to the recitals of different
pianists. How can I express more emphatically the necessity for the
pianist being a man of culture, artistic sensibilities and of creative
tendencies? The student must be taught to think about his
interpretations and if this point is missed and he is permitted to give
conventional, uninspired performances he need never hope to play
artistically.

THE TOUCH REQUIRED

"In studying a new piece, as soon as the style of the piece has been
determined and the accuracy of the notes secured, the pupil should
consider the all-important matter to touch. He should have been
previously instructed in the principles of the different kinds of touch
used in pianoforte playing. I am a firm believer in associating the
appropriate kind of touch with the passage studied from the very
beginning. If the passage calls for a staccato touch do not waste your
time as many do by practicing it legato. Again, in a cantabile passage
do not make the mistake of using a touch that would produce the wrong
quality of tone. The wrists at all times should be in the most supple
possible condition. There should never be any constraint at that point.
When I resumed my musical studies with Paderewski after a lapse of
several years he laid greatest emphasis upon this point. I feel that the
most valuable years for the development of touch and tone are those
which bind the natural facility of the child hand with the acquired
agility of the adult. To my great misfortune I was not able to practice
between the ages of twelve and eighteen. This was due to excessive study
and extensive concert tours as a prodigy. These wrecked my health and it
was only