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Here let me say, that it is most important to remember to look after the physical health of the youthful pianist, and to build up his strength by constant exercise and fresh air, for later on if he is to be successful, he will have to be fit to endure every sort of strain, such as long hours in the train, much nervous excitement, great bodily fatigue. I am perfectly certain that good health and strength are absolutely indispensable to the modern professional pianist, and the sort of notion that an artist consists generally of a pale and sickly creature with delicate lungs and over-strung nerves is a conception of fiction ! High strung, his profession will make him, and sensitive, but he must have his nerves well under control and healthy, otherwise he will never survive the tension of public life.

There is no doubt that the unaccountable failures of some people with really great talents, who deserved recognition, have been due to their neglect of health and their consequent inability through sheer physical weakness to face the tests put upon them. Just think what a long concert tour means to the artist in the way of endurance! Night after night appearing in big important engagements, “with all the responsibility they entail; day after day long journeys by train or steamer, often many nights travelling too; yet, in spite of all that, on arrival he must always be ready to play with energy, spirit and unflagging interest, otherwise he will not inspire or convince his audience. The faculty of interesting and carrying away his hearers by the power of his imagination working upon them through the music, is another quality most needful to the artist. If he is to succeed he must acquire it, or rather develop it, and it can only come through his learning to sink himself in whatsoever he is playing to such a degree that his whole soul and mind become one with the music he is interpreting, and thus it speaks forth with mesmeric conviction to the listeners around him.

I suppose one could fill volumes if one wished to descant upon all the points which go to the making of a fine pianist. But this is only meant to be a general introduction to my remarks on the study of the piano, which I have been asked to write for students and others who may be interested in the subject. I can therefore only touch here, as they occur to me, upon a few of the most salient essentials for those who intend to go in for the profession.