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 embarrassment, 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.

Third Lesson. Other little exercises; trills, scales with shading for one hand alone and for both together; the skipping basses, &c.  We will begin to-day with the bass part of the second variation.  You observe that often there are even eighth notes in the treble, while in the bass there are even triplet eighth notes.  In order to play these properly together, even with only mechanical correctness, it is necessary that the left hand shall acquire a perfectly free and independent movement, and shall bring out the bass with perfect ease.  You must pay special attention to any weak notes, and accustom yourself not to give the last triplet, in each bar, and the last note of this triplet, too hurriedly, too sharply, or with too little tone.  Notice how much difficulty this equal playing of the triplets occasions to the right hand, which moves in even eighth notes.  While you play the left hand, I will play the right:  you must listen as little as possible to my playing, and preserve your own independence.  You must learn to play this variation entirely by yourself with both hands together; but we must not be too much in a hurry about it, and must give time to it.  All restless urging, all hurry, leads to inaccuracies in playing.  You have learned enough for to-day; but you may play the other variations, with the whole finale, straight through, that you may not get into the habit of stopping at the difficult passages which you have already learned.