ion was undertaken. In order to
indicate how carefully and willingly this was done by the pianists it is
interesting to note the case of the great Russian composer-virtuoso
Rachmaninoff. The original conference was conducted in German and in
French. The material was arranged in manuscript form in English. M.
Rachmaninoff then requested a second conference. In the mean time he had
had the better part of the manuscript translated into his native
Russian. However, in order to insure accuracy in the use of words, the
writer translated the entire matter back into German in the pianist's
presence. M. Rachmaninoff did not speak English and the writer did not
speak Russian.

The chapter relating to Harold Bauer is the result of a conference
conducted in English. Mr. Bauer's use of his native tongue is as fluent
and eloquent as a poet or an orator. In order that his ideas might have
the best possible expression the entire chapter was written several
times in manuscript and carefully rearranged and rephrased by Mr. Bauer
in person.

Some of the conferences lasted well on through the night. The writer's
twenty years' experience in teaching was constantly needed to grasp
different shadings of meaning that some pianists found difficult to
phrase. Many indeed have felt their weakness in the art of verbal
expression and have rejoiced to have their ideas clothed with fitting
words. Complete frankness and sincerity were encouraged in every case.
The results of the conference with Wilhelm Bachaus, conceded by many
other pianists to be the foremost "technicalist" of the day, are, it
will be observed, altogether different in the statement of teaching
principles from those of Harold Bauer. Each is a sincere expression of
individual opinion and the thoughtful student by weighing the ideas of
both may reach conclusions immensely to his personal advantage.

No wider range of views upon the subject of pianoforte playing could
possibly come between the covers of a book. The student, the teacher,
and the music lover who acquaints himself with the opinions of the
different masters of the keyboard can not fail to have a very clear
insight into the best contemporary ideas upon technic, interpretation,
style and expression. The author--or shall he call himself a
collector?--believes that the use of the questions following each
chapter will be found practical and useful in the work of both clubs and
classes. Practice, however, is still more importa