be able to discover, at least in a very few minutes, on any instrument,
unless it is of the worst sort, or has already been battered to pieces
by you, how far you can carry the _pianissimo_ and _fortissimo_, and
still preserve the tone within the limits of beauty and simplicity. You
will thus be able to interpret a piece with at least superficial
correctness, without mortally wounding a cultivated ear by exaggerations
and by maltreatment of the instrument and its two pedals.

This style of playing has nevertheless found its numerous defenders and
admirers in our century, which has made every thing possible. This
senseless enslavement and abuse of the piano has been said to be "all
the rage;" a fine expression of our piano critics to justify insane
stamping and soft-pedal sentimentality.

How far what I have here said relates to our modern errors in singing,
and how far it may be applied to them, I leave to the intelligence of my
readers and to my explanations in subsequent chapters.

To return to my theme: I have still one word on this subject for
rational players. Even they use the soft pedal too much and too often,
and at unsuitable places; for instance, in the midst of a piece, without
any preparatory pause; in melodies which require to be lightly executed;
or in rapid passages which are to be played _piano_. This is especially
to be noticed with players who are obliged to use instruments of a
powerful tone and stiff, heavy action, on which it is difficult to
insure a delicate shading in _piano_ and _forte_. For this reason, a
sensible and experienced teacher, whose sole aim is the true and the
beautiful, should make the attainment of an elastic touch and
well-grounded style of playing an indispensable requirement. I prefer
that the soft pedal should be used but seldom, and, if the pedal which