should be softer. His blue pencil is often busy adding phrasing marks.
In the pauses he talks over with the pupil the character of the piece,
and the effects he thinks should be made. In short his lessons are most
helpful and illuminating.

I also had the opportunity to attend a pupils' "Practise Concert," and
here the results attained were little short of marvelous. Small
children, both boys and girls, played difficult pieces, like the Grieg
Variations for two pianos, the Weber _Invitation to the Dance_, and
works by Chopin and Liszt, with accuracy and fluency. Almost every
selection was played from memory. The tone was always musical and often
of much power, and the pupils seemed thoroughly to understand what they
were doing and the meaning of the music. They certainly exemplified the
professor's maxim:

"Never touch the piano without trying to make music."

* * * * *

Not long afterward I received a copy of the new book, which had just
come from the press. Its comprehensive title is _Musical Interpretation,
its Laws and Principles, and their Application in Teaching and
Performing_. The material was first presented in the form of lectures;
on repeated requests it has been issued in book form. The author at the
outset claims no attempt to treat such a complex problem exhaustively;
he has, however, selected the following seven points for elucidation:

1. The difference between Practise and Strumming.
2. The difference between Teaching and Cramming.
3. How one's mind can be brought to bear on one's work.