the kernel, a means for the end.  There are still many players who aim to secure this admiration, either because they are deficient in real musical feeling, or because they believe themselves surer of winning applause by thus appealing to the lowest form of appreciation.  In the early part of the century they would have been handicapped by the instrument which lent itself to delicacy, clearness, and gracefulness of expression, but had little power.  Now the pianoforte has become a thing of rigid steel, enduring tons of strain from its strings, and having a voice like the roar of many waters; to keep pace with it players have become athletes with

        “Thews of Anakim
    And pulses of a Titan’s heart.”

[Sidenote:  Technical skill a matter of course.]

They care no more for the “murmurs made to bless,” unless it be occasionally for the sake of contrast, but seek to astound, amaze, bewilder, and confound with feats of skill and endurance.  That with their devotion to the purely mechanical side of the art they are threatening to destroy pianoforte playing gives them no pause whatever.  The era which they illustrate and adorn is the technical era which was, is, and ever shall be, the era of decay in artistic production.  For the judicious technique alone, be it never so marvellous, cannot serve to-day.  Its possession is accepted as a condition precedent in the case of everyone who ventures to appear upon the concert-platform.  He must be a wonder, indeed, who can disturb our critical equilibrium by mere digital feats.  We want strength and velocity of finger to be coupled with strength, velocity, and penetration of thought.  We want no halting or lisping in the proclamation of what the composer has said, but we want the contents of his thought, not the hollow shell, no matter how distinctly its outlines be drawn.

[Sidenote:  The plan of study in this chapter.]

[Sidenote:  A typical scheme of pieces.]

The factors which present themselves for consideration at a pianoforte recital—­mechanical, intellectual, and emotional—­can be most intelligently and profitably studied along with the development of the instrument and its music.  All branches of the study are invited by the typical recital programme.  The essentially romantic trend of Mr. Paderewski’s nature makes his excursions into the classical field few and short; and it is only when a pianist undertakes to emulate Rubinstein in his historical recitals that the entire pre-Beethoven vista is opened up.  It will suffice for the purposes of this discussion to imagine a programme containing pieces by Bach, D. Scarlatti, Handel, and Mozart in one group; a sonata by Beethoven; some of the shorter pieces of Schumann and Chopin, and one of the transcriptions or rhapsodies of Liszt.

[Sidenote:  Periods in pianoforte music.]