. Well-known piano solos, how to play them . and memorizing,if you will observe that, with two exceptions, the lowestbass note of each group is identical with the treble, onlyone or two octaves lower. Also, at 155 begins a poco apoco stringetido, which, with the exception of a slightslackening of pace in 198 to 200, should be evenlydeveloped till it ends in an impetuous whirl. In 178 occurs the second trap to which allusionwas made. The first of the two grace notes should besounded with the B natural of the treble and the middleC of the bass, going quickly and crisply over the secondgrace note
. Well-known piano solos, how to play them . and memorizing,if you will observe that, with two exceptions, the lowestbass note of each group is identical with the treble, onlyone or two octaves lower. Also, at 155 begins a poco apoco stringetido, which, with the exception of a slightslackening of pace in 198 to 200, should be evenlydeveloped till it ends in an impetuous whirl. In 178 occurs the second trap to which allusionwas made. The first of the two grace notes should besounded with the B natural of the treble and the middleC of the bass, going quickly and crisply over the secondgrace note, E-flat, to the principal melody note, Dnatural. Work this out carefully and note how muchmore brilliant is the effect than the old-fashioned way ofsounding these grace notes on the latter part of theprevious beat. Play this con brio passage with all theanimation you can infuse into it. Resume the string-endo at 201; and make the eight measures beginningwith 202 whirl. Keep strict time to the final chord. Repos dAmour, Op. 2, No. 4 HENSKLT. HE composer of this perfect lovesong was twitted by the critic,Robert Schumann, on his too closeadherence to the smaller forms ofcomposition. In this particular vein,however, Henselt sings more sweetlythan anyone else. Mark the rest-ful, affectionate dalliance in this B flat melody. Setlow down, it glides along, like a deep contralto voice. There are several ways of fingering the melody invarious editions; but your chief object must be thebest legato, whether you play it with the right thumb ora mixture of both thumbs. Of course, the pedal willbe most useful; but very few young pianists can man-age, by the pedal, to carry on the sound of one note toanother, without any break, when they are played bythe same finger or thumb. I do not remember when theexperiment was first successful in my case, but manygood players astonish us by their non-success in thisrespect. The pedal is most useful, not only in sustaining thenote which must sometimes be
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