e. Make use of your strongest fingers
in brilliant passages, leaving out the fourth when possible. A scale to
be brilliant and powerful must not be too rapid. Every note must be
round and full and not too legato--rather a mezzo legato--so that single
tones, played hands together, shall sound like octaves. One of the most
difficult things in rhythm, is to play passages where two notes
alternate with triplets. Scales may be practised in this way alternating
three notes with two.

"We must make things sound well--agreeably, in a way to be admired. A
seemingly discordant passage can be made to sound well by ingeniously
seeking out the best that is in it and holding that up in the most
favorable light. Practise dissonant chords until they please the ear in
spite of their sharpness. Think of the instruments of the orchestra and
their different qualities of tone, and try to imitate them on the piano.
Think of every octave on the piano as having a different color; then
shade and color your playing. (_Also bitte coloriren_)!"

If Buelow's musical trinity, Bach, Beethoven, and Brahms, had a fourth
divinity added, it would surely have been Liszt. The first day's program
contained chiefly works by the Hungarian master; among them _Au bord
d'une Source_, Scherzo and March, and the Ballades. The player who
rendered the Scherzo was advised to practise octaves with light,
flexible wrist; the Kullak Octave School was recommended, especially the
third book; the other books could be read through, practising whatever
seemed difficult and passing over what was easy. Of the Ballades the
first was termed more popular, the second finer and more earnest--though
neither makes very much noise.

The _Annees de Pelerinage_ received much attention. Among the pieces
played were, _Les Cloches_, _Chasse Neige_, _Eclogue_, _Cloches de
Geneva_, _Eroica_, _Feux Follets_ and _Ma__zeppa_. Also the big
Polonaise in E, the two Etudes, _Waldesrauschen_ and _Gnomenreigen_; the
Mazourka, Valse Impromptu, and the first Etude, of which last he
remarked: "You can all play this; thirty years have passed since it was
composed and people are only just finding out how fine it is. Such is
the case with many of Liszt's works. We wonder how they ever could have
been considered unmusical. Yet the way some people play Liszt the hearer
is forced to exclaim, 'What an unmusical fellow Liszt was, to be sure,
to write like that!'

"Exactness in everything is of the greatest