curiosity: we require the accompaniment of the violin and 'cello, but
not of those two disturbing elements.

To-day I wish to propound a query in regard to piano-playing, to the
partial solution of which you will perhaps be glad to give some
attention. You may be sure that I shall always speak only upon subjects
which are not even mentioned in the most crowded piano-schools.

_Query._ Why is it that our young, educated ladies, who enjoy the
advantages of sufficient talent, industry, a serious purpose, and all
the necessary aids, are usually dissatisfied with their progress and
with their success in piano-playing?

Their education is a sufficiently careful one, extending to all branches
of knowledge; but their intellectual advancement in music (although it
has been fostered for years, by constantly listening to good music, and
frequently to the performances of distinguished players, and by a
critical comparison of their own performances with these) is still small
in proportion to their power of execution, and to the mechanical
facility which they have acquired. These are certainly essential to a
correct and agreeable rendering of a piece of music: the compositions
which are to be performed ought, however, never to demand the exercise
of all the mechanical skill which has been acquired, for in that case,
by the struggle with mechanical difficulties, only embarrassment,
discouragement, and anxious haste are apt to take the place of boldness,
confidence in one's self, and command of the music. It is the duty of
teachers, in choosing studies for the improvement of technique, to
select only such as are within the mechanical powers of the pupil, in
order that he may make steady progress, and may acquire a pure and
delicate style of execution, retaining at the same time a lively