Interest in the composition frequently diverts the attention of even the best player from a thoroughly correct and delicate mode of execution, and from the effort to enhance the beauty of the composition, and to increase its appreciation with the hearer.

In the performance of classical music, inspiration--that is, the revelation of an artistic nature and not empty affectation--can be expected only from an artist, and not from a pupil.

Therefore, with more advanced pupils, I take up in my lessons, in connection with a sonata by Beethoven, a nocturne or waltz by Chopin, and a piece by St.Heller or Schulhoff, Henselt, C.Meyer, &c.

Elegance and polish, a certain coquetry, nicety, delicacy, and fine shading cannot be perfected in the study of a sonata by Beethoven; for which, however, the latter pieces present much greater opportunities.

Besides this, variety is much more sustaining to the learner; it excites his interest; he does not so soon become weary, and is guarded from carelessness; his artistic knowledge is increased, and he is agreeably surprised to find himself able to perform three pieces so distinct in character.
* * * * * "Expression cannot be taught, it must come of itself." But when are we to look for it?
When the stiff fingers are fifty or sixty years old, and the expression is imprisoned in them, so that nothing is ever to be heard of it?
This is a wide-spread delusion.