e it more difficult.

Liszt is, of course, considered a great master for the piano, and I play
his works with great delight, especially the _Campanella_ with its
beautiful bell effect, but I cannot look upon Liszt as a pianistic
composer in the same way that one thinks of Chopin as a pianistic
composer. The piano was Chopin's natural tongue. Liszt's tongue, like
that of Beethoven, was the orchestra. He knew no difficulties, according
to the manner in which he wrote his own works. Consequently one must
think of the orchestra in playing Liszt's works, while the works of
Chopin suggest only the piano.

MY DAILY PRACTICE

During most of my life my practice has never exceeded two hours a day.
In this country, while on tour, I never practice more than one and
one-half hours. This is not necessary, because of the concerts
themselves, which keep up my technical work. I never worry about my
fingers. If I can think the pieces right, my fingers will always play
the notes. My mother insists upon my being out in the open air all the
time I am not studying and practicing, and I am out the better part of
the day.

At my practice periods, I devote at least fifteen or twenty minutes to
technical exercises, and strive to play all the scales, in the different
forms, in all the keys, once each day. I then play some of my concert
numbers, continually trying to note if there is any place that requires
attention. If there is, I at once spend a little time trying to improve
the passage.

It is very largely a matter of thinking the musical thought right, and
then saying it in the right way. If you think it right, and your aim at
the keyboard is good, you are not likely to hit the wrong notes, even in
skips such as one finds in the Rubinstein Valse in E flat. I do not ever
remember of hitting the upper note wrong. It all seems so easy to me
that I am sure that if other children in America would look upon other
examples in the same way, they could not find their work so very
difficult. I love to practice Chopin. One cannot be so intimate with
Bach; he is a little cold and unfriendly until one knows him very well.

GENERAL EDUCATION

I have said that we play as we think. The mind must be continually
improved or the fingers will grow dull. In order to see the beauties in
music we must see the beauties in other studies. I have a private
teacher who comes to me in Berlin and teaches me different studies. I
have studied some Latin, French