xactly like mine as she had heard me play the piece three times. I
knew my own tempo exactly and showed her that while it did not differ
so greatly from hers, yet my playing sounded slower because notes and
phrasing were all clear, and everything rightly balanced.

POWER

"How do I gain power? Power does not depend on the size of the hand or
arm; for persons of quite small physique have enough of it to play with
the necessary effect. Power is a nervous force, and of course demands
that arms and wrists be relaxed. The fingers must be so trained as to be
strong enough to stand up under this weight of arms and hands, and not
give way. I repeat, the nail joint must remain firm under all
circumstances. It is so easy to forget this; one must be looking after
it all the time.

MEMORIZING

"In regard to memorizing, I have no special rule or method. Committing
to memory seems to come of its own accord. Some pieces are comparatively
easy to learn by heart; others, like a Bach fugue, require hard work and
close analysis. The surest way to learn a difficult composition, is to
write it out from memory. There is a great deal of benefit in that. If
you want to remember the name of a person or a place, you write it down.
When the eye sees it, the mind retains a much more vivid impression.
This is visual memory. When I play with orchestra, I of course know
every note the orchestra has to play as well as my own part. It is a
much greater task to write out a score from memory than a piano solo,
yet it is the surest way to fix the composition in mind. I find that
compositions I learned in early days are never forgotten, they are
always with me, while the later pieces have to be constantly looked
after. This is doubtless a general experience, as early impressions are
most enduring.

"An orchestral conductor should know the works he conducts so thoroughly
that he need not have the score before him. I have done considerable
conducting the past few years. Last season I gave a series of historical
recitals, tracing the growth of the piano concerto, from Mozart down to
the present. I played nineteen works in all, finishing with the
Rachmaninoff Concerto."

Mr. Gabrilowitsch has entirely given up teaching, and devotes his time
to recital and concert, conducting, and composing.

HANS VON BUeLOW AS TEACHER AND INTERPRETER

Those who heard Hans von Buelow in recital during his American tour, in
1876, listened to piano playing t