importance," he was fond of
saying. "We must make the piano speak. As in speaking we use a separate
movement of the lips for each word, so in certain kinds of melody
playing, the hand is taken up after each note. Then, too, we cannot make
the piano speak without very careful use of the pedals."

The Mazourka of Liszt was recommended as one of the most delightful of
his lighter pieces. The _Waldesrauschen_ also, was termed charming, an
excellent concert number. "Begin the first figure somewhat louder and
slightly slower, then increase the movement and subdue the tone.
_Everything which_ _is to be played softly should be practised forte."_

Of Joachim Raff the Suite Op. 91 held the most important place. Each
number received minute attention, the Giga being played by Ethelbert
Nevin. The _Metamorphosen_ received a hearing, also the Valse Caprice,
Op. 116, of which the master was particular about the staccato left hand
against the legato right. Then came the Scherzo Op. 74, the Valse
Caprice and the Polka, from Suite Op. 71. Von Buelow described the little
group of notes in left hand of middle section as a place where the
dancers made an unexpected slip on the floor, and suggested it be
somewhat emphasized. "We must make this little witticism," he said, as
he illustrated the passage at the piano.

"Raff showed himself a pupil of Mendelssohn in his earlier compositions;
his symphonies will find more appreciation in the coming century--which
cannot be said of the Ocean Symphony, for instance."

Of Mendelssohn the Capriccios Op. 5 and 22 were played, also the Prelude
and Fugue in E. Von Buelow deplored the neglect which was overtaking the
works of Mendelssohn, and spoke of the many beauties of his piano
compositions. "There should be no sentimentality about the playing of
Mendelssohn's music," he said; "the notes speak for themselves.

"The return to a theme, in every song or instrumental work of his is
particularly to be noticed, for it is always interesting; this Fugue in
E should begin as though with the softest register of the organ."

The subject of Brahms has been deferred only that it may be spoken of as
a whole. His music was the theme of the second, and a number of the
following lessons. Buelow was a close friend of the Hamburg master, and
kept in touch with him while in Berlin. One morning he came in with a
beaming face, holding up a sheet of music paper in Beethoven's
handwriting, which Brahms had discovered an