.

"You ask how I would begin with a young pupil who never has had lessons.
I use the principle of relaxation first of all, loosening arms and
wrists. This principle can be taught to the youngest pupil. The wrist is
elevated and lowered, as the hand is formed on the keys in its five
finger position, with arched knuckles. It does not take long to acquire
this relaxed condition; then come the finger movements. I do not believe
in lifting the fingers high above the keys; this takes time and
interferes with velocity and power. I lift my fingers but little above
the keys, yet I have plenty of power, all the critics agree on that. In
chords and octaves I get all the power I need by grasping the keys with
weight and pressure. I do not even prepare the fingers in the air,
before taking the chord; I do not find it necessary." Here the pianist
played a succession of ringing chords, whose power and tonal quality
bore out her words; the fingers seemed merely to press and cling; there
was no striking nor percussion.

"To return to the beginning pupil. As for a book to start with, I often
use the one by Damm, though any foundational work may be employed, so
long as correct principles are taught. It is said by Leschetizky that he
has no method. That may be understood to mean a book, for he certainly
has what others would call a method. There are principles and various
sets of exercises to be learned; but it is quite true that none of the
Vorbereiters use a book.

"In teaching the piano, as you know, every pupil is different; each has
his or her own peculiar hand, and a different degree of intelligence. So
each pupil must be treated differently. This is really an advantage to
the teacher; for it would be very monotonous if all pupils were alike.

"The piano is such a revealer of character; I need only to hear a person
play to know what sort of character he has. If one is inclined to much
careful detail in everything, it comes out in the playing. If one is
indolent and indifferent, it is seen the moment one touches the keys; or
if one is built on broad, generous lines, and sees the dramatic point in
life and things, all this is revealed at the piano.

"To refer again to the subject of finger action. I do not believe in the
so-called finger stroke; on the contrary I advocate fingers close to the
keys, clinging to them whenever you can. This is also Arthur Schnabel's
idea. You should hear Schnabel; all Berlin is wild over him, and
wh