nd simple that even a child can understand them. If he has stated facts
in a way which seems to some revolutionary it is because these facts are
seldom understood by the rank and file of piano teachers. The work he
has done has compelled attention and admiration; his ideas are now
accepted as undeniable truths by those who at first repudiated them. The
writings of Mr. Matthay will doubtless be better known in America a
little later on than they are at present. They consist in part of an
exhaustive work on _The Act of Touch in all its Diversity; First
Principles of Piano Playing; Relaxation Studies; The Child's First Steps
in Piano Playing; The Principles of Fingering and Laws of Pedaling;
Forearm Rotation Principle;_ and, in press, _The Principles of Teaching
Interpretation_. These very titles are inspiring and suggestive, and
show Matthay to be a deep thinker along educational lines.

[Illustration: Cordially Yours, Tobias Matthay]

Matthay's activities are enormous. He is professor of advanced piano
playing at the Royal Academy of Music; also founder and head of his own
school of piano playing. So occupied early and late is he, that it is
almost impossible to get a word with him. I was fortunate enough,
however, to obtain an hour's audience, and also permission to attend
various private classes at the Royal Academy, and hear a number of
pupils in recital.

In appearance Matthay is a striking personality. His head and features
recall pictures of Robert Louis Stevenson. His tall, muscular form has
the stoop of the scholar; and little wonder when one remembers he must
sit in his chair at work day in and day out. His somewhat brusk manner
melts into kind amiability when discussing the topics in which he is
vitally interested. In his intercourse with students he is ever kind,
sympathetic and encouraging. They, on their part, treat him with
profound respect.

Matthay believes, and rightly, that the beginning pupil should learn
essentials of note values, rhythm, time, ear-training and so on, before
attempting to play anything at the piano. When first taken to the
instrument, its mechanism is carefully explained to the learner, and
what he must do to make a really musical tone. He says _(Child's First
Steps)_: "Before you take the very first step in tone production, be
sure to understand that you must never touch the piano without trying to
make music. It is only too easy to sound notes without making music at
all. To mak