esemble poetry?

10. Should one be careful about the body before concerts?

[Illustration: WILHELM BACHAUS]

WILHELM BACHAUS

BIOGRAPHICAL

Wilhelm Bachaus was born at Leipsic, March 24, 1884, two years before
the death of Franz Liszt. Nine years younger than Josef Hofmann and a
trifle more than one-half the age of Paderewski he represents a
different decade from that of other pianists included in this work.
Bachaus studied for nine years with Alois Reckendorf, a Moravian teacher
who was connected with the Leipsic Conservatory for more than thirty
years. Reckendorf had been a student of science and philosophy at the
Vienna and the Heidelberg Universities and was an earnest musician and
teacher with theories of his own. He took an especial interest in
Bachaus and was his only teacher with the exception of one year spent
with d'Albert and "three lessons with Siloti." Although Bachaus
commenced playing when he was eight years old he feels that his
professional _debut_ was made in London in June, 1901, when he played
the tremendously difficult Brahms-Paganini Variations. In 1905, when
Bachaus was only twenty-one, he won the famous Rubinstein Prize at
Paris. This consists of 5000 francs offered every five years to young
men between the ages of twenty and twenty-six.

(The following conference was conducted in English and German.)

IV

THE PIANIST OF TO-MORROW

WILHELM BACHAUS

TO-DAY, YESTERDAY AND TO-MORROW

"It is somewhat surprising how very little difference exists between the
material used in piano teaching to-day and that employed forty or fifty
years ago. Of course, there has been a remarkable amount of new
technical material, exercises, studies, etc., devised, written and
published, and some of this presents the advantage of being an
improvement upon the old--an improvement which may be termed an
advance--but, taken all in all, the advance has been very slight when
compared with the astonishing advances made in other sciences and other
phases of human progress in this time.

"It would seem that the science of music (for the processes of studying
the art are undoubtedly scientific) left little territory for new
explorers and inventors. Despite the great number of etudes that have
been written, imagine for one moment what a desert the technic of music
would be without Czerny, Clementi, Tausig, Pischna--to say nothing of
the great works of Scarlatti and Bach, which have an effect upon the