n arched position and the
joints nearest the tip of the fingers must be firm; there should be no
wavering nor giving in there. The whole arm, of course, is relaxed, and
swings easily from the shoulder.

A PIANO HAND

"I have, as you say, a good hand for the piano; much depends on that; I
have always had a good deal of what is called a natural technic. Thus
when I am obliged to forego practising I do not lose my facility; an
hour's work puts the hand in condition again. What do I do to accomplish
this? Different things. First some finger movements, perhaps with
fingers in an extended chord position; then some scales and arpeggios;
then a Chopin etude, and so on. When practising regularly, I do not
generally work at the piano more than four hours a day; it seems to me
that amount is sufficient, if used with absolute concentration."

Later we adjourned to the pretty garden back of the music-room, and here
we were joined by a beautiful gray Angora cat, the pet and pride of his
mistress, and a very important personage indeed. He has a trick of
climbing to Miss Goodson's shoulder, from which point of vantage he
surveys the world about him with all the complaisance of which an animal
of such high degree is capable.

XI

MARK HAMBOURG

FORM, TECHNIC, AND EXPRESSION

[Illustration: MARK HAMBOURG]

In one of the most quiet, secluded quarters of London can be found the
home of the Russian pianist, Mark Hambourg. Mr. Hambourg lives on a
terrace, "far from the madding crowd," and difficult enough of access to
keep mere curiosity seekers at a distance. One can scarcely picture to
one's self, without an actual sight of them, the quaint charm of these
short passages or streets, usually termed "terraces," or "gardens." This
particular terrace looks out on a restful green park, where luxuriant
trees make long shadows on the sunlit turf. The house is large and
comfortable--built over a hundred years ago; its rooms are spacious, and
the drawing-room and library, which lead one into the other, form a fine
music salon. Surely, amid such surroundings, with priceless pictures and
_objets d'art_ all about, with exquisite colors, with space and quiet,
an artist must find an ideal spot for both work and play. I expressed
this thought to Mr. Hambourg when he entered; then we soon fell to
discussing the necessary equipment of the teacher and pianist.

"I agree with you," he said, "that it is the beginning of piano study
which