d a piece of music upon paper.

* * * * *

When you play, never mind who listens to you.

* * * * *

Play always as if in the presence of a master.

* * * * *

If any one should place before you a composition to play at sight, read
it over before you play it.

* * * * *

When you have done your musical day's work and feel tired, do not exert
yourself further. It is better to rest than to work without pleasure and
vigour.

* * * * *

In maturer years play no fashionable trifles. Time is precious. We
should need to live a hundred lives, only to become acquainted with all
the good works that exist.

* * * * *

With sweetmeats, pastry and confectionary we cannot bring up children in
sound health. The mental food must be as simple and nourishing as the
bodily. Great composers have sufficiently provided for the former; keep
to their works.

* * * * *

All bravura-music soon grows antiquated. Rapid execution is valuable
only when used to perfect the performance of real music.

* * * * *

Never help to circulate bad compositions; on the contrary, help to
suppress them with earnestness.

* * * * *

You should neither play bad compositions, nor, unless compelled, listen
to them.

* * * * *

Do not think velocity, or passage-playing, your highest aim. Try to
produce such an impression with a piece of music as was intended by the
composer; all further exertions are caricatures.

* * * * *

Think it a vile habit to alter works of good composers, to omit parts of
them, or to insert new-fashioned ornaments. This is the greatest insult
you can offer to Art.

* * * * *

As to choice in the study of your pieces, ask the advice of more
experienced persons than yourself; by so doing, you will save much time.

* * * * *

You must become acquainted by degrees with all the principal works of
the more celebrated masters.

* * *