Piano and Song | Page 6

heart, and often to be transposed into other keys; in which way the memory, which is indispensable for piano playing, is unconsciously greatly increased. They must be learned perfectly and played well, often, according to the capacity of the pupil, even finely; in strict time (counting aloud is seldom necessary) and without stumbling or hesitating; first slowly, then fast, faster, slow again, staccato, legato, piano, forte, crescendo, diminuendo, &c. This mode of instruction I find always successful; but I do not put the cart before the horse, and, without previous technical instruction, begin my piano lessons with the extremely difficult acquirement of the treble and bass notes. In a word, I have striven, as a psychologist and thinker, as a man and teacher, for a many-sided culture. I have also paid great attention to the art of singing, as a necessary foundation for piano-playing. I have devoted some talent, and at least an enthusiastic, unwearied love to the subject. I have never stood still; have learned something of teaching every day, and have sought always to improve myself; I have always been something new and different, in every lesson and with every child; I have always kept up a cheerful, joyous courage, and this has usually kindled the same in my pupil, because it came from the heart. Moreover, I have never been a man of routine, have never shown myself a pedant, who is obliged to hold fast to certain ideas and views.
I have lived up to the century, and have tried to understand and to advance the age; have heard every thing great and fine in music, and have induced my pupils also to hear it. I have opposed with determination all the prejudices and false tendencies of the times, and never have allowed impatient parents to give advice about my lessons. I have insisted upon a good and well-tuned instrument for my pupils, and have endeavored to merit the love and confidence both of my pupils and of their parents. In fact, I have devoted myself thoroughly to my calling, and have been wholly a teacher, always fixing my eye on the true, the beautiful, and the artistic; and in this way have been of service to my pupils.
FRIEND. But how do you find parents who sympathize with your ideas and with your lofty views?
DOMINIE. I have found that almost all the parents of my pupils have entered into my views, if not immediately, at least after they had been present at a few lessons. In the case of those few who would not enter into them, I have abandoned the lessons; but, nevertheless, I have found that my time has been fully occupied. My friend, do you not think that views like these will assist in the training of young and inexperienced teachers, who are striving for improvement? and do you not think they will be useful even to those who already possess general mental culture, and who are animated by an ardent love for their calling? I especially avoid giving here any exclusive method, a servile following of which would be entirely contrary to my intentions, and, in fact, contrary to my method.
But as for the rest! Alas, all those who do not understand me, or who choose to misunderstand me, those are the worst!--especially the ill-natured people, the classical people who bray about music, stride straight to the notes, and have no patience till they come to Beethoven; who foolishly prate and fume about my unclassical management, but at bottom only wish to conceal their own unskilfulness, their want of culture and of disinterestedness, or to excuse their habitual drudgery. Lazy people without talent I cannot undertake to inspirit, to teach, and to cultivate.
This chapter will, almost by itself, point out to unprejudiced minds my method of giving more advanced instruction, and will show in what spirit I have educated my own daughters, even to the highest point of musical culture, without using the slightest severity. It will, indeed, cause great vexation to the ill-minded and even to the polite world, who attribute the musical position of my daughters in the artistic world to a tyranny used by me, to immoderate and unheard-of "practising," and to tortures of every kind; and who do not hesitate to invent and industriously to circulate the most absurd reports about it, instead of inquiring into what I have already published about teaching, and comparing it with the management which, with their own children, has led only to senseless thrumming.

CHAPTER II.
AN EVENING ENTERTAINMENT AT HERR ZACH'S.
DRAMATIS PERSON?.
HERR ZACH, _formerly a flute-player, not very wealthy._ HIS WIFE, _of the family of Tz. (rather sharp-tempered)._ STOCK, _her son, 17 years old (is studying the piano thoroughly)._ MR. BUFFALO, _music-master of the family._ DOMINIE, _piano-teacher (rather gruff)._ CECILIA, _his daughter, 13 years