ns which are alike, but a human, with active thought and
emotion, has a broader outlook.

"The question as to whether the performer must have experienced every
emotion he interprets is as old as antiquity. You remember in the
Dialogues of Plato, Socrates was discussing with another sage the point
as to whether an actor must have felt every emotion he portrayed in
order to be a true artist. The discussion waxed warm on both sides.
Socrates' final argument was, If the true artist must have lived through
every experience in order to portray it faithfully, then, if he had to
act a death scene he would have to die first in order to picture it with
adequate fidelity!"

THE QUESTION OF VELOCITY

In speaking of velocity in piano playing and how it is to be acquired,
Mr. Bauer continued:

"I believe the quality of velocity is inherent--an integral part of
one's thought. Even a child, if he has this inherent quality, can play a
simple figure of five notes as fast as they need to be played. People of
the South--not on this side of the water--but of Spain and Italy, are
accustomed to move quickly; they gesticulate with their hands and are
full of life and energy. It is no trouble for them to think with
velocity. Two people will set out to walk to a given point; they may
both walk fast, according to their idea of that word, but one will
cover the ground much more quickly than the other. I think this idea of
a time unit is again a limiting idea. There can be _no_ fixed and fast
rule as to the tempo of a composition; we cannot be bound by such rules.
The main thing is: Do I understand the meaning and spirit of the
composition, and can I make these clear to others? Can I so project this
piece that the picture is alive? If so, the fact as to whether it is a
few shades slower or faster does not enter into the question at all.

OBTAINING POWER

"Many players totally mistake in what power consists. They think they
must exert great strength in order to acquire sufficient power. Many
women students have this idea; they do not realize that power comes from
contrast. This is the secret of the effect of power. I do not mean to
say that we must not play with all the force we have at times; we even
have to pound and bang occasionally to produce the needed effects. This
only proves again that a tone may be beautiful, though in itself harsh,
if this harshness comes in the right time and place.

"As with velocity so with power; there is