keep in touch with my teachers, their work, and with all the students.

"On the first Saturday of the month I have my own pupils here for a
class; they play for me and for each other. Everything is played from
memory, not a printed note is used. Students tell me it is very
difficult to play here, where all listen so intently. Especially is it
difficult the first time a student plays in class, to keep the mind
wholly on what he is doing, with sufficient concentration. Later on, at
the end of the season, it comes easier.

"This idea of separating the technical work at the outset from the study
of music itself, secures, in my opinion, the most perfect foundation,
and later on the best results. It is sometimes wonderful how, with
proper training, the hand will improve and develop in a comparatively
short time. I often marvel at it myself."

The writer had the privilege of being one of the guests at the last
audition of the season. Eight or nine young artists played a long and
difficult program. Among the numbers were a Beethoven sonata, entire;
Chopin's Ballade in A flat major; Cesar Franck, Prelude, Fugue and
Variations; a Mozart Fantaisie; Grieg Concerto, first movement; Weber's
Concertstück, and Chopin's Scherzo in E. The recital was most
instructive from an educational point of view. All the players had
repose and concentration, and there were no noticeable slips, though
every piece was played from memory. Hands were well arched at the
knuckles, fingers curved--with adequate action at the knuckle joint;
wrists in normal position, and extremely loose; the whole arm swung from
the shoulder and poised over the keys, thus adjusting itself to every
requirement of the composition. Every note had its amount of hand or arm
weight. The tone quality was full and singing. These points were