are able to play the numerous pieces which I have heard from them so
correctly and intelligently, without bungling or hesitation, and with so
much expression, and the most delicate shading; in fact, in such a
masterly manner. From my youth upwards, I have had tolerable
instruction. I have played scales and études for a long time; and have
taken great pleasure in studying and industriously practising numerous
compositions of Kalkbrenner and Hummel, under their own direction. I
have even been celebrated for my talent; but, nevertheless, I never have
had the pleasure of being able to execute any considerable piece of
music to my own satisfaction or that of others; and I fear it will be
the same with my daughter Emily.

DOMINIE. In order to give a satisfactory answer to your question, I will
lay before you a few of my principles and opinions in respect to
musical culture, with special reference to piano-playing. Educated
ladies of the present time make greater pretensions and greater demands
than formerly in regard to music and musical execution; and consequently
their own performances do not usually correspond with their more or less
cultivated taste for the beautiful, which has been awakened by their
careful general education. Thus they are aware that they are not able to
give satisfaction, either to themselves or to others; and from this
arises a want of that confidence in their own powers, which should
amount almost to a consciousness of infallibility, in order to produce a
satisfactory musical performance. This confidence has its foundation in
a full, firm, clear, and musical touch, the acquisition of which has
been, and is still, too much neglected by masters and teachers. A
correct mechanical facility and its advanced cultivation rest upon this
basis alone; which, moreover, requires special attention upon our softly
leathered pianos, which are much more difficult to play upon than the
old-fashioned instruments. It is a mistake to suppose that a correct