ir. To realize these
qualities in playing is the very idealization of technic."

The Chopin-Liszt _Maiden's Wish_, was next considered. "The theme here
is often overlaid and encrusted with the delicate lace-like arabesques
that seek to hide it; but it must be found and brought out. There is so
much in being able to find what is hidden behind the notes. You must get
an insight into the inner idea; must feel it. This is not technic, not
method even; it is the spiritualization of playing. There are pieces
that will sound well if the notes only are played, like the little F
minor Moment Musicale of Schubert; yet even in this there is much behind
the notes, which, if brought out, will make quite another thing of the
piece.

"Schumann's Andante, for two pianos, should have a very tender,
caressing touch for the theme. The place where the four-sixteenths
occur, which make rather a square effect, can be softened down. On the
second page, be sure and do not accent the grace notes; let the accent
come on the fifth finger every time. For the variation containing
chords, use the grasping touch, which might be described as a certain
indrawing of force in the end of the finger, as though taking a long
breath. The variation in triplets seems at first sight almost a
caricature, a burlesque on the theme, but I don't think that Schumann
had any such idea. On the contrary he meant it as a very sweet, gentle,
loving thought. The last page has something ethereal, ideal about it; it
should be breathed out, growing fainter and fainter to the end.

"The G minor Ballade, of Chopin, begins slowly, with much dignity. The
opening melody is one of sadness, almost gloom. The _a tempo_ on second
page contains four parts going on at the same time. At the _piu forte,_
care must be taken to have the outer side of the hand well raised, and
moved from the wrist. The idea here is one of great agitation and
unrest. The fifth page needs great power and the legato octaves well
connected and sustained. The feeling of unrest is here augmented until
it becomes almost painful, and not until the _animato_ does a restful
feeling come. This should be played lightly and delicately, the left
hand giving the rhythm. The _presto_ demands great power and dash. Let
the wrist be low when beginning the chords, raise it after the first and
let it fall after the second. Always accent the second chord. Begin the
final double runs slowly and increase in speed and tone. So, to