. Well-known piano solos, how to play them . e always are certain positionsand exigencies which, if not cornered and mentallylabeled, will bring about disaster. Perhaps it is theposition of a chord, wide or narrow, which brings a feel-ing of doubt or insecurity. Or perhaps your fingeringis at fault, owing to negligence at the outset; for goodfingering always suggests the next note. Arensky—Le Coucou, Op. 34, No. 2 15 These very stumbling-blocks may, indeed, becomehelpful; and if each is overcome and safely passed on thejourney—^just as the Red Indian will blaze a trail withhis ax (?—Ed.) to be
. Well-known piano solos, how to play them . e always are certain positionsand exigencies which, if not cornered and mentallylabeled, will bring about disaster. Perhaps it is theposition of a chord, wide or narrow, which brings a feel-ing of doubt or insecurity. Or perhaps your fingeringis at fault, owing to negligence at the outset; for goodfingering always suggests the next note. Arensky—Le Coucou, Op. 34, No. 2 15 These very stumbling-blocks may, indeed, becomehelpful; and if each is overcome and safely passed on thejourney—^just as the Red Indian will blaze a trail withhis ax (?—Ed.) to be followed with ease—confidence isgained. Then, if only you play the piece through oncefrom memory, why not twice? Or, to narrow it down,if you can remember the first measure, why not twomeasures; then why not sixteen? A free and easy mental attitude is absolutely neces-sary or the sequence of notes will not occur to the brain;and mental awkwardness is quite as important to avoidas corporal restraint and stiffness. Bourree in A Minor. From the English SuitesBACH FEW days since, at an orchestralconcert, when Miss Fanny Daviesplayed the Schumann concerto, itwas dehghtful to hear the openingstrain of this Bourr^ as a secondencore to her solos. An old favor-ite this, evidently of both of played so freshly, old Bachs music seemed torenew its youth under her sensitive fingers. The coldand apparently thin two-part writing can be made topulse with heart-beats; and, as though to emphasizethis thinness, the second Bourr^, in the major key,is written in three- and, later on, in four-part wonders how Bach became conversant withthese old foreign dance rhythms; but we learn thatitinerant musicians carried them over civilized Europeuntil they became almost acclimatized and Bourr^ came from Spain, like the Sarabande,which frequently precedes it in the suite. By the way,what a lovely instance of a Sarabande in this suite. The feature of the Bourr^ is the s
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