note.)

76. "The poet writes his monologue or dialogue in a certain,
continuous rhythm, but the elocutionist in order to insure an
understanding of the sense of the lines, must make pauses and
interruptions at places where the poet was not permitted to
indicate it by punctuation. The same manner of declamation can
be applied to music, and admits of modification only according
to the number of performers."

(Reported by Schindler, Beethoven's faithful factotum.)

77. "With respect to his playing with you, when he has acquired
the proper mode of fingering and plays in time and plays the
notes with tolerable correctness, only then direct his attention
to the matter of interpretation; and when he has gotten this far
do not stop him for little mistakes, but point them out at the
end of the piece. Although I have myself given very little
instruction I have always followed this method which quickly
makes musicians, and that, after all, is one of the first
objects of art."

(To Czerny, who was teaching music to Beethoven's nephew Karl.)

78. "Always place the hands at the key-board so that the fingers
can not be raised higher than is necessary; only in this way is
it possible to produce a singing tone."

(Reported by Schindler as Beethoven's view on pianoforte
instruction. He hated a staccato style of playing and dubbed it