connection with a sonata by Beethoven, a nocturne or waltz by Chopin,
and a piece by St. Heller or Schulhoff, Henselt, C. Meyer, &c. Elegance
and polish, a certain coquetry, nicety, delicacy, and fine shading
cannot be perfected in the study of a sonata by Beethoven; for which,
however, the latter pieces present much greater opportunities. Besides
this, variety is much more sustaining to the learner; it excites his
interest; he does not so soon become weary, and is guarded from
carelessness; his artistic knowledge is increased, and he is agreeably
surprised to find himself able to perform three pieces so distinct in
character.

* * * * *

"Expression cannot be taught, it must come of itself." But when are we
to look for it? When the stiff fingers are fifty or sixty years old, and
the expression is imprisoned in them, so that nothing is ever to be
heard of it? This is a wide-spread delusion. Let us look at a few of
those to whom expression has come of itself. X. plays skilfully and
correctly, but his expression continues crude, cold, monotonous; he
shows too pedantic a solicitude about mechanical execution and strict
time; he never ventures on a _pp._, uses too little shading in _piano_,
and plays the _forte_ too heavily, and without regard to the instrument;
his _crescendi_ and _diminuendi_ are inappropriate, often coarse and
brought in at unsuitable places; and--his _ritardandi_! they are tedious
indeed! "But Miss Z. plays differently and more finely." Truly, she
plays differently; but is it more finely? Do you like this gentle violet
blue, this sickly paleness, these rouged falsehoods, at the expense of
all integrity of character? this sweet, embellished, languishing style,
this _rubato_ and dismembering of the musical phrases, this want of
time, and this sentimental trash? They both have talent, but their