Piano and Song Part 2

CHAPTER III.

MANY STUDENTS OF THE PIANO AND FEW PLAYERS.

_(A Letter addressed to the Father of a Piano Pupil)._

It is a pity that you have no sons, for a father takes great delight in his sons; but I agree with you, when you say that, if you had one, you would rather he should break stones than pound the piano. You say you have many friends who rejoice in that paternal felicity, and whose sons, great and small, bright and dull, have been learning the piano for three years or more, and still can do nothing. You are doubtless right; and, further, they never will learn any thing. You ask, Of what use is it to man or boy to be able to stammer through this or that waltz, or polonaise or mazurka, with stiff arms, weak fingers, a stupid face, and lounging figure? What gain is it to art? You say, Is not time worth gold, and yet we are offered lead? And the poor teachers torment themselves and the boys, abuse art and the piano; and at the end of the evening, in despair, torment their own wives, after they have all day long been scolding, cuffing, and lamenting, without success or consolation. You speak the truth. I have had the same experience myself, though not to the same degree, and though I did not bring home to my wife a dreary face, but only a good appet.i.te. But I did not give myself up to lamentation over piano-teaching. I gathered up courage and rose above mere drudgery. I reflected and considered and studied, and tried whether I could not manage better, as I found I could not succeed with the boys; and I have managed better and succeeded better, because I have hit upon a different way, and one more in accordance with nature than that used in the piano schools. I laid down, as the first and most important principle, the necessity for "the formation of a fine touch,"

just as singing-teachers rely upon the culture of a fine tone, in order to teach singing well. I endeavored, without notes, to make the necessary exercises so interesting that the attention of the pupils always increased; and that they even, after a short time, took great pleasure in a sound, tender, full, singing tone; an acquirement which, unfortunately, even many _virtuosos_ do not possess. In this way, we made an opening at the beginning, not in the middle: we harnessed the horse _before_ the wagon. The pupil now obtained a firm footing, and had something to enjoy, without being tormented at every lesson with dry matters to be learned, the advantage of which was not obvious to him, and the final aim of which he did not perceive. Until a correct touch has been acquired, it is of no use to talk about a fine singing tone.

How can we expect to arouse an interest by mere toneless tinkling, while stiff, inflexible fingers are struggling with the notes; while the pupil sees only his inability to do any thing right, and receives nothing but blame from the teacher; while, at the same time, so much is to be kept in mind, and he must be required to observe the time, and to use the right fingers? Poor, stupid children! Later, after teaching the notes, I did not fall into the universal error of selecting pieces which were either too difficult, or such as, though purely musical, were not well adapted to the piano; but I chose short, easy pieces, without prominent difficulties, in the correct and skilful performance of which the pupil might take pleasure. Consequently, they were studied carefully, slowly, willingly, and with interest, which last is a great thing gained; for the pupil rejoiced in the antic.i.p.ation of success. The struggle over single difficult places destroys all pleasure, palsies talent, creates disgust, and, what is worse, it tends to render uncertain the confirmation of the faculty already partially acquired,--of _bringing out a fine legato tone, with loose and quiet fingers and a yielding, movable wrist, without the a.s.sistance of the arm_.

You suppose that talent is especially wanting, and not merely good teachers; for otherwise, with the zealous pursuit of piano-playing in Saxony, we should produce hundreds who could, at least, play correctly and with facility, if not finely. Here you are mistaken: we have, on the contrary, a great deal of musical talent. There are, also, even in the provincial cities, teachers who are not only musical, but who also possess so much zeal and talent for teaching that many of their pupils are able to play tolerably well. I will add further, that the taste for music is much more cultivated and improved, even in small places, by singing-societies and by public and private concerts, than was formerly the case. We also have much better aids in instruction books, etudes, and suitable piano pieces; but still we find everywhere "jingling" and "piano-banging," as you express it, and yet no piano-playing.

Let us consider this aspect of the subject a little more closely. In the first place, the proper basis for a firm structure is wanting. The knowledge of the notes cannot afford a proper basis, except in so far as it is of service in the execution of a piece. Of what use are the notes to a singer, if he has no attack, and does not understand the management of the voice? of what use to the piano-learner, if he has no touch, no tone on the piano-forte. Is this to be acquired by playing the notes?

But how then is it to be learned?

One thing more. Owing to an over-zeal for education, children are kept in school from seven to ten hours in a day, and then they are required to work and commit to memory in their free hours, when they ought to be enjoying the fresh air. But when are they then to have their piano lessons? After they have escaped from the school-room, and consequently when the children are exhausted and their nerves unstrung. What cruelty!

Instead of bread and b.u.t.ter and fresh air, piano lessons! The piano ought to be studied with unimpaired vigor, and with great attention and interest, otherwise no success is to be expected. Besides this, much writing, in itself, makes stiff, inflexible fingers. But when is the child to find time for the necessary practice of the piano lessons?

Well, in the evening, after ten o'clock for refreshment, while papa and mamma are in bed! And now, after the school-days are happily over, and the children have possibly retained their red cheeks, then their occupations in life lay claim to their time; or, if they are girls, they are expected to busy themselves with embroidery, knitting, sewing, crochet, making clothes, house-work, tea parties, and alas! with b.a.l.l.s; and now, too, comes the time for lovers. Do you imagine that the fingers of pupils sixteen years old can learn mechanical movements as easily as those of children nine years old? In order to satisfy the present demands in any degree, the technique should be settled at sixteen. Under all these circ.u.mstances, we find the best teachers become discouraged, and fall into a dull routine, which truly can lead to no success.

In conclusion, I beg you to invite the piano teacher, Mr. Strict, to whom you have confided the instruction of your only daughter, Rosalie, to pay me a visit, and I will give him particular directions for a gradual development in piano-playing, up to Beethoven's op. 109 or Chopin's F minor concerto. But I shall find him too fixed in his own theories, too much of a composer, too conceited and dogmatic, and not sufficiently practical, to be a good teacher, or to exert much influence; and, indeed, he has himself a stiff, restless, clumsy touch, that expends half its efforts in the air. He talks bravely of etudes, scales, &c.; but the question with regard to these is _how they are taught_. The so-called practising of exercises, without having previously formed a sure touch, and carefully and skilfully fostering it is not much more useful than playing pieces. But I hear him reply, with proud and learned self-consciousness: "Music, music! Cla.s.sical, cla.s.sical! Spirit! Expression! Bach, Beethoven, Mendelssohn!" That is just the difficulty. Look at his pupils, at his pianists! See how his children are musically stifled, and hear his daughter sing the cla.s.sical arias composed by himself! However, it is all musical! Farewell.

CHAPTER IV.

A CONVERSATION WITH MRS. SOLID, AND FOUR LESSONS TO HER DAUGHTER.

MRS. SOLID. I should be glad to understand how it is that your daughters 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 etudes 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 touch, which alone can produce a good execution, will come of itself, through the practice of etudes and scales. Even with masters, it is unusual to meet with a sound, fine, unexceptionable touch, like that of Field and Moscheles, and among the more recent that of Thalberg, Chopin, Mendelssohn, and Henselt.

I will speak now of the selection of pieces. Our ladies are not contented to play simple music, which presents few difficulties and requires no involved fingering; and from which they might gradually advance by correct and persevering study to more difficult pieces. They at once seize upon grand compositions by Beethoven, C.M. von Weber, Mendelssohn, Chopin, and others, and select also, for the sake of variety, the bravoura pieces of Liszt, Thalberg, Henselt, &c. How can they expect to obtain a command of such pieces, when their early education was insufficient for our exalted demands in mechanical skill, and their subsequent instruction has also been faulty and without method?

If you were to request me to supply in some degree your own deficiencies, before I proceed to the further education of your daughter, I should not begin with the wisdom of our friend Mr. Buffalo: "Madam, you must every day practise the major and minor scales, in all the keys, with both hands at once, and also in thirds and in sixths; and you must work three or four hours daily at etudes of Clementi, Cramer, and Moscheles; otherwise, your playing will never amount to any thing."

Such advice has frequently been given by teachers like Mr. Buffalo, and is still daily insisted on; but we will, for the present, set such nonsense aside. I shall, in the first place, endeavor to improve your touch, which is too thin, feeble, and incorrect; which makes too much unnecessary movement, and tries to produce the tone in the air, instead of drawing it out with the keys. This will not require a long time, for I have well-formed, young hands to work upon, with skilful fingers in good condition. I will employ, for this purpose, several of the short exercises mentioned in my first chapter, and shall require them to be transposed into various keys, and played without notes, in order that you may give your whole attention to your hands and fingers. Above all things, I wish you to observe how I try to bring out from the piano the most beautiful possible tone, with a quiet movement of the fingers and a correct position of the hand; without an uneasy jerking of the arm, and with ease, lightness, and sureness. I shall certainly insist upon scales also, for it is necessary to pay great care and attention to pa.s.sing the thumb under promptly and quietly, and to the correct, easy position of the arm. But I shall be content with the practice of scales for a quarter of an hour each day, which I require to be played, according to my discretion, _staccato_, _legato_, fast, slow, _forte_, _piano_, with one hand or with both hands, according to circ.u.mstances. This short time daily for scale-practice is sufficient, provided, always, that I have no stiff fingers, or unpractised or ruined structure of the hand to educate. For very young beginners with weak fingers, the scales should be practised only _piano_, until the fingers acquire strength.

I should continue in this way with you for two weeks, but every day with some slight change. After a short time, I would combine with this practice the study of two or three pieces, suitably arranged for the piano; for example, Mozart's minuet in E flat, arranged by Schulhoff, and his drinking-song, or similar pieces. We will, at present, have nothing to do with Beethoven. You are, perhaps, afraid that all this might be tedious; but I have never been considered tedious in my lessons. I wish you, for the present, not to practise any pieces or exercises except in my presence, until a better touch has been thoroughly established. You must also give up entirely, for a time, playing your previous pieces; for they would give you opportunity to fall again into your faulty mode of playing. I shall also soon put in practice one of my maxims in teaching; viz., that, merely for the acquisition of mechanical facility, all my pupils shall be in the habit of playing daily some appropriate piece, that by its perfect mastery they may gain a fearless confidence. They must regard this piece as a companion, friend, and support. I wish you to learn to consider it a necessity every day, before practising or studying your new piece of music, to play this piece, even if it is done quite mechanically, two or three times, first slowly, then faster; for without ready, flexible fingers, my teaching and preaching will be valueless.

MRS. SOLID. But what pieces, for instance?

DOMINIE. For beginners, perhaps one or two of Hunten's Etudes Melodiques; a little later, one of Czerny's very judicious Etudes from his opus 740; and for more advanced pupils, after they are able to stretch easily and correctly, his Toccata, opus 92,--a piece which my three daughters never give up playing, even if they do not play it every day. They practise pieces of this description as a remedy for mechanical deficiencies, changing them every three or four months. In the selection of these, I aim especially at the practice of thirds, trills, stretches, scales, and pa.s.sages for strengthening the fourth finger; and I choose them with reference to the particular pieces, sonatas, variations, concertos, &c., which they are at the time studying.

Likewise, in the choice of the latter, I pursue a different course from that which the teachers alluded to above and others are accustomed to follow; though I hope my management is never pedantic, but cautious, artistic, and psychologic. It is easy to see that many teachers, by giving lessons continually, particularly to pupils without talent, are led, even with the best intentions, to fall into a mere routine. We find them often impatient and unsympathetic, especially in the teaching of their own compositions; and again, by their one-sided opinions and capricious requirements, by devoting attention to matters of small importance, and by all sorts of whimsicalities, they contract the intellectual horizon of their pupils, and destroy their interest in the lessons.

MRS. SOLID. Your careful mode of proceeding is certainly extremely interesting and convincing; but allow me to request an answer to various objections and considerations which are now and then brought forward, particularly by teachers.

DOMINIE. To that I am quite accustomed. The good and the beautiful never obtain uncontested recognition. No one has ever offered any new improvement, and fearlessly spoken the truth, without being attacked, defamed, and despised, or entirely misunderstood. Our age can show many proofs of this; for example, let us remember h.o.m.oeopathy and magnetism.

Clara Wieck was not appreciated in Leipzig until she had been admired in Paris; nor Marie Wieck, because she does not play exactly as her sister Clara does. The same is the case with my present book, which relentlessly treads upon the incredible follies and lamentable errors of the times. I am quite prepared for opposition of any kind.

MRS. SOLID. I should like to suggest to you that there are other teachers who have given themselves a great deal of trouble, and who are very particular; but it is not their good fortune to have daughters like yours to educate.

DOMINIE. Have given themselves a great deal of trouble? What do you mean by that? If they do not take pains in the right way, or at the right time and place, it is all labor in vain. Of what use is mere unskilful, stupid industry? For instance, when a teacher, in order to correct a stiff use of the fingers and wrist, and the general faulty touch of his pupil, gives some wonderful etude or a piece with great stretches and arpeggios for the left hand, and gives himself unwearied trouble over it, it is a proof of abundant painstaking; but it is labor thrown away, and only makes the imperfect mode of performance the worse.

And now with regard to my daughters. It has been their fortune to have had me for a father and teacher: they certainly have talent, and I have been successful in rousing and guiding it. Envy, jealousy, pride, and offended egotism have tried as long as possible to dispute this; but at last the effort is abandoned. They say that it requires no art to educate such talent as theirs, that it almost "comes of itself." This a.s.sertion is just as false and contrary to experience as it is common, even with educated and thoughtful people, who belong to no clique.

Lichtenburg says: "It is just those things upon which everybody is agreed that should be subjected to investigation." Well, I have made a thorough investigation of these accusations, with regard to my three daughters, and all the talented pupils whom I have been able to educate for good amateurs, and, according to circ.u.mstances, for good public performers. The great number of these suffices for my justification. I must add, still further, that it is exactly the "great talents" for singing, or for the piano, who require the most careful, thoughtful, and prudent guidance. Look around at the mult.i.tude of abortive talents and geniuses! Talented pupils are just the ones who have an irresistible desire to be left to their own discretion; they esteem destruction by themselves more highly than salvation by others.

MRS. SOLID. But it is said that you have been able to educate only your three daughters, and none others for public performers.

DOMINIE. Madam, you cannot be serious. If I were to declaim Leporello's list, you might justly consider it an exaggeration; but if, instead of replying to you, I should urge you to read what I have written on the subject, or if I should present your daughter Emily to you, after three or four years, as a superior performer, you might pardon my vanity and my ability. I do not possess any magic wand, which envy and folly could not impute to me as an offence. Nevertheless, unless circ.u.mstances were very adverse, I have, at all events, been able in a short time to accomplish for my pupils the acquisition of a good, or at least an improved, musical touch; and have thus laid a foundation, which other teachers have failed to do by their method, or rather want of method.

But you have something else on your mind?

MRS. SOLID. You antic.i.p.ate me. I was educated in Berlin, and in that capital of intelligence a taste prevails for opposition, negation, and thorough criticism. How can you educate artists and _virtuosos_, when you yourself are so little a _virtuoso_? You are not even a composer or learned contrapuntist. A teacher of music wins much greater consideration, if he himself plays concertos and composes pretty things, and if he can calculate and give vent to his genius in double and triple fugues, and in inverse and retrograde canons. You cannot even accompany your pupils with the violin or flute, which is certainly very useful and improving.

DOMINIE. The egotist is seldom capable of giving efficient instruction: that lies in the nature of the case. Even a child will soon perceive whether the teacher has a sole eye to its interest, or has other and personal aims in view. The former bears good fruits, the latter very doubtful ones. I will say nothing about the stand-point of those egotistical teachers whose first aim is to bring themselves into prominence, and who at the same time are perhaps travelling public performers and composers. They are, it may be, chiefly occupied with double and triple fugues (the more inverted the more learned), and they consider this knowledge the only correct musical foundation. At the same time, they often possess a touch like that of your brother, Mr. Strict, mentioned in my third chapter, and are utterly devoid of true taste and feeling. While pursuing their fruitless piano lessons, which are quite foreign to their customary train of thought, they regard their occupation only as a milch cow; and they obtain the money of sanguine parents, and sacrifice the time of their pupils. You may try such agreeable personages for yourself: I could wish you no greater punishment.

And now I will speak of the violin and the flute. I have never availed myself of those expedients; it is a method which I have never learned. I will describe for your amus.e.m.e.nt a few interesting incidents, which I had an opportunity to witness in a not inconsiderable city, while on a journey with my daughters. The teacher with the flute was a gentle, quiet, mild musician; he was on very good terms with his pupil, and indulged in no disputes; every thing went on peaceably, without pa.s.sion, and "in time." They both twittered tenderly and amicably, and were playing, in celebration of the birthday of an old aunt who was rather hard of hearing, a sonata by Kuhlau, which was quite within the power of both. The old aunt, who, of course, could hear but little of the soft, flute tones, and the light, thin, modest, square piano, kept asking me: "Is not that exquisite? what do you think of it?" I nodded my head and praised it, for the music was modest and made no pretension.

I will pa.s.s next to the violin. The possessor of this was a type of presumption, vulgarity, and coa.r.s.eness, and understood how to make an impression on his pupils and their parents by the a.s.sumption of extraordinary ability. He consequently enjoyed a certain consideration.

He was, moreover, a good musician, and played the violin tolerably in accompanying the piano, in Beethoven's opus 17 and 24. In this portrait you have a specimen of the violinist as a piano teacher. Of course he understood nothing of piano-playing, and took no interest in Wieck's rubbish about beauty of tone; he cared only for Beethoven. He now and then tried to sprawl out a few examples of fingering, in a spider-like fashion; but they were seldom successful. His pupils also possessed the peculiar advantage of playing "in time," when they did not stick fast in the difficult places. At such times he always became very cross and severe, and talked about "precision;" in that way instilling respect.

His pupils did not jingle, but they had a peculiarly short, pounding touch; and floundered about among the keys with a sort of boldness, and with resolute, jerking elbows. They certainly had no tone, but the violin was therefore heard the better; and after each performance we might have heard, "Am I not the first teacher in Europe?"

MRS. SOLID. You certainly have shown up two ridiculous figures.

DOMINIE. True; but I leave it to every one to make themselves ridiculous.

MRS. SOLID. I am very glad that you have furnished me here with the criticisms of which I stand in need; for I might otherwise have been in danger of supplying you with an example at the next soiree, perhaps at the banker's, Mr. Gold's. But, as I should like to hear your answer, I will listen to, and report to you, what is said in a certain though not very numerous clique, who are opposed to you and your labors.

DOMINIE. Those people would act more wisely, if they were to study my writings; in which I will make any corrections, if there is any thing that I can add to them, for the advantage of truth, right, and beauty.

And now allow me, Miss Emily, since you are pretty well advanced, and are not quite spoiled, to show you in a few lessons how to study these variations by Herz (Les Trois Graces, No. 1, on a theme from "The Pirates"). They are not easy; but I will teach them in a way that shall not weary you or give you a distaste for them. I have intentionally chosen these variations, because they do not lay claim to great musical interest; and, consequently, their mode of performance, their execution, gives them their chief value. Moreover, they possess the disadvantage for teaching that they are of unequal difficulty, and require, therefore, the more skill on the part of the teacher to compensate for this.

_First Lesson._ Miss Emily, these are very clear, graceful variations, which require an extremely nice, delicate execution; and, especially, a complete mechanical mastery of their various difficulties. Although these variations may seem to you too easy, I am governed in the selection of them by the maxim that "what one would learn to play finely must be below the mechanical powers of the pupil." The theme of the Italian song, which is the basis of these variations, is very well chosen, and you must take great pains to execute it as finely as possible, and to produce a singing effect upon the piano-forte. After the piece is thoroughly learned, you will be greatly aided in the production of this imitation of singing by the careful and correct use of the pedal which raises the dampers. The theme does not offer great mechanical difficulties; but it requires a loose, broad, full, and yet tender touch, a good _portamento_, and a clear and delicately shaded delivery; for you must remember that "in the performance of a simple theme the well-taught pupil may be recognized."

EMILY. But you do not begin at the beginning: there is an introduction to the piece.

DOMINIE. Perhaps we shall take that at the last: I can't tell yet when.

A great many things in my instruction will seem to you misplaced: it may be that the final result will restore to me the approval which I desire.

EMILY. Do you always give such a preliminary description before you begin a piece with a pupil?

DOMINIE. I like to do so; for I wish to create an interest in the piece, and to state in connection my principles and views about music and piano-playing. Now we will try the theme, first quite slowly; and then the first easy variation, with the last bars at the end of it, which introduce the theme once more, and which should be played very clearly and smoothly. We will then take from the introduction only the right hand, and study the most appropriate fingering for it. I never write this out fully; but only intimate it here and there, in order not to interfere with the spontaneous activity of the learner. We will also take a few portions for the left hand from the finale. In these you must carefully observe the directions which are given for its performance, and try to execute every thing correctly and clearly; for a careless ba.s.s is prejudicial to the very best playing in the treble.

My lesson is now at an end; for we have taken up a good deal of time at the beginning with the scales, and pa.s.sing the thumb under correctly, with the different species of touch, and the appropriate exercises for these. I do not wish you yet to practise the first variation with both hands together, for you do not yet strike the skipping ba.s.s evenly enough and with sufficient precision; and you might accustom yourself to inaccuracies, especially as your left hand has, as usual, been neglected, and is inferior to the right in lightness and rapidity. We shall find this a hindrance; for the object is not to practise much, but to practise correctly. Therefore play these pa.s.sages first slowly, then quicker, at last very fast; then slow again, sometimes _staccato_, sometimes _legato_, _piano_, and also moderately loud; but never when the hands and fingers are fatigued, therefore not too continuously; but many times in the course of the day, and always with fresh energy. At present, you need not play _fortissimo_, or with the pedal: for in that way you might be led into a tramping style, with a weak, stiff touch, and a habit of striking at the keys with straight fingers; and that I do not like. We will look for the true and the beautiful in a very different treatment of the piano; and, first of all, in a clear, unaffected, healthy performance, free from any forced character.

_Second Lesson._ Transposition of the triads and dominant chord in their three positions, and in various kinds of measure; and practice of these, with careful attention to a correct touch and loose wrist; cadences on the dominant and sub-dominant; practice of the skipping ba.s.s in the theme, and in the first and third variations, with practice in striking and leaving the chords, observing carefully the precise value of the notes. You must attend also to striking them not too forcibly or too feebly, and take special care with regard to the fourth and fifth fingers, which do not easily give the tone with so full a sound as the other three fingers. Now we will try the theme with both hands together, and consider the correct expression, and likewise the _piano_ and _forte_, as well as the nicest _crescendo_ and _diminuendo_. We will then take the first easy variation, of which you have already acquired a mastery: we will play it exactly _a tempo_ and with the ba.s.s chords, which should usually be given _staccato_, and which must be played with delicacy and flexibility; but it will be well for you to practise first the ba.s.s part once alone, in order that you may hear whether all the tones sound evenly. Now the first variation will go pretty well with both hands together; with increasing mastery of it, the requisite shading in the right hand can be produced. As your right hand is not yet tired, play to me now several times, first slowly and then faster, the pa.s.sages which I gave you from the introduction. When the right hand becomes a little fatigued, take a portion from the finale for the left hand. You may also try over the adagio; but I recommend for your special practice the part for the right hand in the third variation. You cannot make a mistake about it, if you do not try to play it too fast, and if you carefully observe the fingering indicated. Now I will play the theme to you, as nearly as possible as I heard the famous tenor Rubini sing it. You see I place the fingers gently upon the keys and avoid raising them too high, in order not to injure the nice connection of the tones, and to produce a singing tone as far as possible. At the end of the lesson you will play the theme to me once more.... I perceive you play it with too much embarra.s.sment, and not freely enough. It will go still better two days hence, if you play it frequently during that time, slowly, and become quite accustomed to it. In addition, you will practise industriously every thing which we have gone through, especially the first variation; but you must always do it with interest, and never with weariness. Of course you will practise _without notes_ all the little exercises for the touch, and for the fourth and fifth fingers, and the cadences.