Individualization of the fingers was one of his strong points, and he believed in assigning to each of them its appropriate part.  “In a good mechanism,” he said, “the aim is not to play everything with an equal sound, but to acquire beautiful quality of touch and perfect shading.”  Of prime importance in his eyes was a clear, elastic, singing tone, one whose exquisite delicacy could never be confounded with feebleness.  Every dynamic nuance he exacted of fingers that fell with freedom and elasticity on the keys, and he knew how to augment the warmth and richness of tone-coloring by setting in vibration sympathetic harmonics of the principal notes through judicious employment of the damper pedal.

By precept and example he advocated frequent playing of the preludes and fugues of Bach as a means of cultivating musical intelligence, muscular independence and touch and tone discrimination.  His musical heroes were Bach and Mozart, for they represented to him nature, strong individuality and poetry in music.  At one time he undertook to write a method or school of piano-playing, but never progressed beyond the opening sentences.  A message directly from him would have been invaluable to students, and might have averted many unlucky misapprehensions of himself and his works.  Those of his contemporaries who have harkened with rapture to his playing have declared that he alone could adequately interpret his tone-creations, or make perfectly intelligible his method.  Pupils of his and their pupils have faithfully endeavored to transmit to the musical world the tradition of his individual style.  The elect few have come into touch with his vision of beauty, but it has been mercilessly misinterpreted by thousands of ruthless aspirants to musical honors, in the schoolroom, the students’ recital and the concert hall.

Whoever plays Chopin with sledge-hammer fingers will deaden all sense of his poetry, charm and grace.  Whoever approaches him with weak sentimentalism will miss altogether his dignity and strength.  It has been said of him that he was Woman in his tenderness and realization of the beautiful; and Man in his energy and force of mind.  The highest type of artist and human being is thus represented.  To interpret him requires simplicity, purity of style, refined technique, poetic imagination and genuine sentiment—­not fitful, fictitious sentimentality.

In regard to the much discussed tempo rubato of Chopin many and fatal blunders have been made.  Players without number have gone stumbling over the piano keys with a tottering, spasmodic gait, serenely fancying they are heeding the master’s design.  Reckless, out-of-time playing disfigures what is meant to express the fluctuation of thought, the soul’s agitation, the rolling of the waves of time and eternity.  The rubato, from rubare, to rob, represents a pliable movement that is certainly as old as the Greek drama in declamation, and was employed in intoning the Gregorian