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Who does not quote, at times, in referring to such performers, the hackneyed plea for indulgence  “He makes up in expression what he lacks in execution?” As if this excuse itself did not prove upon examination to be a sheer piece of nonsense. For where there is no sufficient command of execution the expression can only be halting, stilted, and ineffective. In a reproductive art, such as pianoforte-playing, the perfect rendering of all the emotions inspired by the music can only be obtained through unlimited control of technique, which, of course, implies absolute mastery of manual dexterity.

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So many talented amateurs who really wish to study their art to the backbone and attain professional proficiency do not realize that they must first acquire what is generally known among artists as a good  “school.  The word ” school ” used in this sense means a firm background of technical principles by which difficulties can be solved in the most logical and profitable manner. The acquirement of these principles can only be gained in the years of hard work which should precede any serious attempt at performance.

It was interesting to me, in the light of my views on this subject, to have been present recently at the Dancing School of the Russian Ballet. Here their greatest stars practice every day, for several hours, technical exercises and steps which eventually constitute a wonderful and intricate ballet. And though to the impatient the mere study of scales may seem intolerably dull, yet it is a wonderful feeling to notice power growing gradually, and things becoming easy which at first seemed insurmountable.