it is not much more useful than playing pieces.  But I hear him reply, with proud and learned self-consciousness:  “Music, music!  Classical, classical!  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 classical 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.