a piece which does
not seem to have coherence and unity. It should be regarded aurally as
the artist regards his work visually. The painter stands off at some
distance to look at his work in order to see whether all parts of his
painting harmonize. The pianist must do much the same thing. He must
listen to his work time and time again and if it does not seem to 'hang
together' he must unify all the parts until he can give a real
interpretation instead of a collection of disjointed sections. This
demands grasp, insight and talent, three qualifications without which
the pianist cannot hope for large success."

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

SERIES XVIII

ERNEST SCHELLING

1. What should be the preliminary study of a new composition?

2. How should the mechanical difficulties of the piece be studied?

3. How may one find the bearing of one movement upon another?

4. State the importance of deciding upon the appropriate touch.

5. How may the right tempo be established?

6. What did Chopin call the left hand?

7. What is it in playing that sways the audience?

8. How should the fingering of a new piece be studied?

9. Why is a more difficult fingering sometimes preferable?

10. Give a practical plan for memorizing.

SIGISMUND STOJOWSKI

BIOGRAPHICAL

Sigismund Stojowski was born at Strelce, Poland, May 2, 1870. He studied
piano with L. Zelenski at Cracow and with Diemer at the Paris
Conservatoire. At the same institution he studied composition with Leo
Delibes. His talent both as a composer and as a pianist was considered
extraordinary at that time and he was successful in carrying off two
first prizes, one for piano and one for composition (1889). At that time
Stojowski's great fellow countryman, Paderewski, assumed the educational
supervision of his career and became his teacher in person.

Stojowski's orchestral compositions attracted wide attention in Paris
and he met with pronounced success as a virtuoso. Mr. Stojowski came to
America in 1906 and he entered immediately into the musical life of the
country, taking foremost rank as a composer, pianist and teacher. Aside
from his musical talent he is a remarkable linguist and speaks many
languages fluently. His articles written in English, for instance, are
unusually graphic and expressive. Once when complimented upon his
linguistic ability he remarked "We Poles are given the credit of being