truments, he sounded the tocsin of realism. It had been foreshadowed in Clementi's Gradus, and its intellectual resultant, the Beethoven sonata, but the mater

rtinences and affectations of the Herz-Parisian school; despite the morbidities and occasional dandyisms of Chopin's style he was, in the main, manly and sincere. Thalberg, who pushed to its limits scale playing and made an embroidered v

s insisted upon by the pedants of Leipsic; to attain this triune perfection one had to become poor in imagination, obedient to dull, musty precedent, and chaste in finger exercises. What wonder, when the dashing young fellow from Raiding shouted his uncouth challenge to ears plugged by prejudice, a wail went forth and the beginning of the end s

e keyboard might often pattern with advantage after the rococoisms of the idealists; but as a school pure and simple it is of the past. We moderns are as eclectic as the Bolognese. We have a craze for selection, for variety, for adaptation; hence a pianist of to-day must include many styles in his performance, but the keynote, the foundation, is realism, a sometimes harsh realism that drives to despair the apostles of the

ng a series of studies and then building himself a piano to make them possible of performance. With variety of touch-tone-colour-the old rapid pearly passage, withal graceful school of Vienna, vanished; it was absorbed by the new technique. Clementi, Beethoven, Liszt, Schumann, forced to the utmost the orchestral development of the piano. Power, sonority, dynamic variety and novel manipulation of the pedals, combined with a technique that included Bach part playing and demanded the mo

n the keyboard has been toned down into a more sober, grateful colouring. The scarlet waistcoat of the Romantic school is outworn; the brutal brilliancies and exaggerated orchestral effects of the realists are beginning to be regarded with suspicion. We comprehend the possibilities of the instrument and our own aural limitations. Wag

ve nuance. Infinite shadings are to be heard where before were only piano, forte, and mezzo-forte. Chopin and Liszt and Tausig did much for the nuance; Joseffy taught America the nuance, as Rubinstein reve