. Well-known piano solos, how to play them . d brilliance as well asdifficulty, but a slight ritardando will be excusable tomake them clear. The step-like arpeggio at 87 affordscontrast to the broken scale passages. The arpeggio,102 and 103, is the tonic triad with the addition of thesixth, C sharp; so trust your memory and look well atthe keyboard. The first full chord, in 104, is thedominant seventh of the relative minor, C sharp; thechord on the second beat of 105 is the dominant seventhof the tonic key. Use the pedal to each of these closingchords. Fluency is the desideratum in playing thi
. Well-known piano solos, how to play them . d brilliance as well asdifficulty, but a slight ritardando will be excusable tomake them clear. The step-like arpeggio at 87 affordscontrast to the broken scale passages. The arpeggio,102 and 103, is the tonic triad with the addition of thesixth, C sharp; so trust your memory and look well atthe keyboard. The first full chord, in 104, is thedominant seventh of the relative minor, C sharp; thechord on the second beat of 105 is the dominant seventhof the tonic key. Use the pedal to each of these closingchords. Fluency is the desideratum in playing this piece; butmay I say that, before you complain of the technicaldifficulties, you must thoroughly assimilate every notementally. The reading of the music in the armchair,after study at the keyboard, would be most have heard of some pianists who would digest solosduring train or boat journeys and play them for thefirst time, in public, on their arrival. This is, of course,an exceptional feat. (I have read this of Rubinstein.—Ed.). Second Nocturne, Op. 12 LESCHETIZKY E have here an ideal nocturne. Every-thing is somnolent and the writer it always suggests aserenade on the water, with the boatgliding silently as it starts the ripples which shimmer with the reflections of the moon and to the technical requirements, the one who wouldinterpret this piece successfully must first be able tomake a melody sing on the piano. Few compositionsrequire this quality in a higher degree. It is one ofthose selections which it would be a joy to hear Pade-rewski translate into poetic piano song. Along with thischaracteristic, it demands that one be able to play anaccompaniment of chords of the most subdued and vel-vety quality, regardless of which hand must executethem. The first two measures are assigned to the left handand consist of a giving out of the accompaniment figurewhich is so characteristic of the piece. These will testthe musicianship of the performer,
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