arrangements of the great overtures and symphonies, too, are valuable
and enjoyable. They prepare the way for an appreciation of an
orchestral performance of these masterpieces, and broaden the musical
horizon. Where there are several music students in a family it is a pity
for them to confine their efforts exclusively to the piano, although
every musician should have some knowledge of this household instrument.
That is a happy home whose members are united by the playing or singing
of noble concerted music.

It is an absurd error to suppose that fine soloists cannot succeed in
ensemble work, or as accompanists. Those who fail have been poorly
grounded in their art. They may give dazzling performances of works
bristling with technical difficulties, yet make a sad failure of some
slow, tender movement that calls for musicianly understanding and
delicate treatment. The truth is, the requirements for an artistic
accompanist, or for artistic concerted work, are the same as for an
artistic soloist: well directed musical aptitude, love of art, an ear
attuned to listening and large experience in sight-reading.

The music pupils' public recital contributes no little to the blunders
of the day in music study. Especially with piano pupils, the work of the
year is likely to be shaped with reference to the supreme occasion when
results attained may be exhibited in the presence of assembled parents
and friends. The popular demand being for the mastery of technique,
showy pieces are prepared whose mechanism so claims the attention that
the principles underlying both technics and interpretation are
neglected. Well-controlled hands, fingers, wrists and arms, with
excellent manipulation of the keyboard, may be admired at the recital,
but little of that effective playing is heard which finds its way to the
hearer's heart. A dead monotony will too often recall the letter that