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
whenever he gives a concert the house is sold out. He has quantities of
pupils also, and is quite a remarkable teacher. One point I insist upon
which he doesn't: I will not allow the joint of the finger next the tip
to break or give in. I can not stand that, but Schnabel doesn't seem to
care about it; his mind is filled with only the big, broad things of
music.