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 anticipation 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 assistance 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.