With a group of five notes, play two and then three—­it sounds more distinguished.  Remember that unlearning gives much more trouble than learning.

* * * * *

In this brief resume of the Von Buelow lessons, the desire has been to convey some of the hints and remarks concerning the music and its interpretation.  The master’s fleeting sentences were hurriedly jotted down during the lessons, with no thought of their ever being seen except by the owner.  But as Buelow’s fame as a teacher became so great, these brief notes may now be of some value to both teacher and student.

If it were only possible to create a picture of that Berlin music-room, with its long windows opening out to a green garden—­the May sunshine streaming in; the two grand pianos in the center, a row of anxious, absorbed students about the edge of the room—­and the short figure of the little Doctor, pacing up and down the polished floor, or seating himself at one piano now and then, to illustrate his instruction.  This mental picture is the lifelong possession of each of those players who were so fortunate as to be present at the sessions.  It can safely be affirmed, I think, that the principles of artistic rectitude, of exactness and thorough musicianship which were there inculcated, ever remained with the members of that class, as a constant incentive and inspiration.

HINTS ON INTERPRETATION FROM TWO AMERICAN TEACHERS

WILLIAM H. SHERWOOD AND DR. WILLIAM MASON

WILLIAM H. SHERWOOD

While a young student the opportunity came to attend a Summer Music School, founded by this eminent pianist and teacher.  He had surrounded himself with others well known for their specialties in voice, violin and diction; but the director himself was the magnet who attracted pianists and teachers from the four corners of the land.

Perhaps the most intimate way to come in touch with a famous teacher, is to study with him during the summer months, in some quiet, retired spot.  Here the stress of the metropolis, with its rush and drive, its exacting hours, its remorseless round of lesson giving, is exchanged for the freedom of rural life.  Hours may still be exact, but a part of each day, or of each week, is given over to relaxation, to be spent in the open, with friends and pupils.

It was under such conditions that I first met Mr. Sherwood.  I had never even heard him play, and was glad the session opened with a piano recital.  His playing delighted me; he had both power and delicacy, and his tone impressed me as being especially mellow and fine.  There was deep feeling as well as poetry in his reading of both the Chromatic Fantaisie of Bach, and the Chopin Fantaisie in F minor which were on the program.  This opinion was strengthened at each subsequent hearing, for he gave frequent recitals and concerts during the season.