There are, indeed, many _virtuosos_ who think they give evidence of
genius, by throwing themselves on to the music-stool in a slovenly,
lounging manner, and try to show in this way their superiority to a
painstaking performance, and to make up by a showy _nonchalance_ for
what is wanting in their playing. You are, however, a stranger to such
assertion of superior genius, and to such an expression of intensity of
feeling; you do it only from embarrassment, and from a modest want of
confidence in your own powers, which is quite unnecessary. Our great
masters, such as Field, Hummel, Moscheles, Mendelssohn, and others, had
no taste for such improprieties, for such manifestations of genius. They
applied themselves to their task with earnest devotion, and with respect
for the public.
CHAPTER XIII.
ON MUSICAL TALENT.
A large and varied experience is required for a correct estimate of
musical talent in the young. Do not be deceived by the early evidences
of talent; for instance, interest in melodies, correct feeling for time,
an instinct for accenting the important notes, inclination for some
peculiar though often perverted style of performance, quick
apprehension, a natural aptitude for playing, a nice hearing, animation,
rapid progress, docility, superficial gayety; even if all or a part of
these traits are observable in early youth, they must not excite too
sanguine hopes.
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