. Well-known piano solos, how to play them . leuse, Op. 157, No. 2 215 Ravina: Etude de Style 217 Rheinberger: La Chasse, Op. 5, No. i 219 vi Index by Composers PACE Rubinstein: Melodic in F, Op. 3, No. i 222 Romance in E Flat, Op. 44, No. i 225 Trot du Cavalerie 227 Scarlatti : Burlesca 229 Scarlatti-Tausig: Pastorale e Capriccio 231 Scharwenka: Polish Dance, Op. 3, No. i 232 Schubert: Impromptu in A Flat, Op. 90, No. 4 234 Impromptu in A Flat, Op. 182 236 ScnuBERT-LiszT: Ave Maria 238 Schumann: Arabesque, Op. 18 241 Aufschwung, Op. 12 244 In der Nacht, Op. 12, No. 5 246 Nachtstiick, Op. 23,
. Well-known piano solos, how to play them . leuse, Op. 157, No. 2 215 Ravina: Etude de Style 217 Rheinberger: La Chasse, Op. 5, No. i 219 vi Index by Composers PACE Rubinstein: Melodic in F, Op. 3, No. i 222 Romance in E Flat, Op. 44, No. i 225 Trot du Cavalerie 227 Scarlatti : Burlesca 229 Scarlatti-Tausig: Pastorale e Capriccio 231 Scharwenka: Polish Dance, Op. 3, No. i 232 Schubert: Impromptu in A Flat, Op. 90, No. 4 234 Impromptu in A Flat, Op. 182 236 ScnuBERT-LiszT: Ave Maria 238 Schumann: Arabesque, Op. 18 241 Aufschwung, Op. 12 244 In der Nacht, Op. 12, No. 5 246 Nachtstiick, Op. 23, No. 4 249 Novelette in F, Op. 21, No. i 251 Papillons, Op. 2 253 Bird as Prophet, Op. 82 260 Slumber Song, Op. 124, No. 16 258 SchuTT: Valse Mignonne, Op. 16, No. 2 263 Sibelius: Romance, Op. 24, No. 9 265 Sinding: Rustle of Spring (Friihlingsrauschen), Op. 32, No. 3 267 ThalbERG: Deux Airs Russes 270 Tschaikovsky: Chant Sans Paroles in F, Op. 2, No. 3 273 June (Barcarolle), Op. 37, No 6 276 -Iroika (November), Op. 37, No. 11 279 A Foreword. N undertaking a revision of the workof a living author one is at onceconfronted with the deHcacy of thetask. That this work may be mademore adaptable to existing condi-tions is the only possible apologyfor a new edition. In preparingthis, professional courtesy requires the nicest distinc-tions in order that the intents and rights of the authorshall be respected. Without wishing to detract in the least from theoriginal text, a difference in the colloquial idioms andtechnical terms of Britain and America necessitatedsome changes in the verbiage. Indeed, after severalvisits to Merrie England, it has been no easy taskfor the editor to sacrifice some of those words which,on their native soil, lend such piquancy to the commontalk and conventional phrase. Wherever it has beennecessary to substitute for these synonyms more fa-miliar in America, an earnest effort has been made todo so without destroying the intimate style of theauthor, which adds so
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