I do not, however, censure the performance of many _virtuosos_, who execute rapid octave passages with a stiff wrist; they often do it with great precision, in the most rapid _tempo_, forcibly and effectively.

It must, after all, depend upon individual peculiarities whether the pupil can learn better and more quickly to play such passages thus or with a loose wrist.

The present style of bravoura playing for _virtuosos_ cannot dispense with facility in octave passages; it is a necessary part of it.
I will now consider the use of loose and independent fingers, in playing generally; _i.e._, in that of more advanced pupils who have already acquired the necessary elementary knowledge.

The fingers must be set upon the keys with a certain decision, firmness, quickness, and vigor, and must obtain a command over the key-board; otherwise, the result is only a tame, colorless, uncertain, immature style of playing, in which no fine _portamento_, no poignant _staccato_, or sprightly accentuation can be produced.

Every thoughtful teacher, striving for the best result, must, however, take care that this shall only be acquired gradually, and must teach it with a constant regard to individual peculiarities, and not at the expense of beauty of performance, and of a tender, agreeable touch.
* * * * * It is a mortifying fact for many critics, artists, composers, and teachers, that the general public show much more correct judgment and appreciation of a fine, noble piano performance, and of a simple, pure, well-taught style of singing, and also understand the characteristics of the performer, much more quickly than they do.