. Well-known piano solos, how to play them . original theme is always retained. The brilliantpassages for clever fingers, in tenths, on page 7, aretypical Thalberg, as also the transposing of the melodyto the left hand. The dominant pedal passage leading to the nationalhymn is like the roll of drums heralding a monarch; and,both here and in the final coda, it looks as if he plays,not to himself, like Paderewski, but well up to the gods,like the great showman he was. The long pearlypassage beginning with the ascending chromatic scaleabounds in pretty little conceits and fancies, the twomeasures
. Well-known piano solos, how to play them . original theme is always retained. The brilliantpassages for clever fingers, in tenths, on page 7, aretypical Thalberg, as also the transposing of the melodyto the left hand. The dominant pedal passage leading to the nationalhymn is like the roll of drums heralding a monarch; and,both here and in the final coda, it looks as if he plays,not to himself, like Paderewski, but well up to the gods,like the great showman he was. The long pearlypassage beginning with the ascending chromatic scaleabounds in pretty little conceits and fancies, the twomeasures preceding the big octave passage beingspecially gleeful. One can imagine him going for thenext big octaves, and, with the aid of much pedal,arousing quite a furore. Then he gently subsides intothe more intimate first theme alternating between thehands. After this he girds up his loins and brings downthe house with those grand smashing full chords ineach hand which only a great virtuoso would write, andwhich demand great physical Chant sans Paroles in F, Op. 2, No. 3 TSCHAIKOVSKY HE key to success in cantabile play-ing is present in the first two melodynotes. Do not play both with thefifth finger, but get a real legato bythe fourth finger on the second note,even though it stretch your handfor the instant. The best editionshave numerous markings for changing the fingers onkeys after they are down. This is an art worthmastering, because of its great value in similar melo-dies with accompaniment. Listen to your own the chords at once and place your fifth fingeron the grace notes. If you conquer this first measureand link these two tones well, you will accomplishmuch. The left-hand part of the first measure con-tains two tenths and an octave; and, as it appearsso often, master it at once. With regard to the use of the pedal, you will see thatthe first two chords are the same (the second one is inthe first inversion) and, therefore, the pedal may be keptdow
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