in mind, and he must be required to observe the time, and to use the
right fingers? Poor, stupid children! Later, after teaching the notes, I
did not fall into the universal error of selecting pieces which were
either too difficult, or such as, though purely musical, were not well
adapted to the piano; but I chose short, easy pieces, without prominent
difficulties, in the correct and skilful performance of which the pupil
might take pleasure. Consequently, they were studied carefully, slowly,
willingly, and with interest, which last is a great thing gained; for
the pupil rejoiced in the anticipation of success. The struggle over
single difficult places destroys all pleasure, palsies talent, creates
disgust, and, what is worse, it tends to render uncertain the
confirmation of the faculty already partially acquired,--of _bringing
out a fine legato tone, with loose and quiet fingers and a yielding,
movable wrist, without the assistance of the arm_.

You suppose that talent is especially wanting, and not merely good
teachers; for otherwise, with the zealous pursuit of piano-playing in
Saxony, we should produce hundreds who could, at least, play correctly
and with facility, if not finely. Here you are mistaken: we have, on the
contrary, a great deal of musical talent. There are, also, even in the
provincial cities, teachers who are not only musical, but who also
possess so much zeal and talent for teaching that many of their pupils
are able to play tolerably well. I will add further, that the taste for
music is much more cultivated and improved, even in small places, by
singing-societies and by public and private concerts, than was formerly
the case. We also have much better aids in instruction books, études,
and suitable piano pieces; but still we find everywhere "jingling" and
"piano-banging," as you express it, and yet no piano-playing.

Let us consider this aspect of the subject a little more closely. In