p.375 EDITORIAL NOTE: Clarence Lucas was born at Niagara, Canada, October 19, 1866. . . . For many years he has resided near Paris and has devoted most of his time to criticism. He has written for many of the foremost papers of the world and has had a vast acquaintance among musicians of distinction.

. . . Josef Hofmann's hand is decidedly small. The hand of Vladimir de Pachmann was of medium size. Rosenthal's hand is only moderately large.

. . . And Mark Hambourg told me that very few technical studies were necessary to develop a technic. Another wonderful pianist, but of an earlier generation, told me the opposite. I refer to the famous de Pachmann.

When I was a young harmony teacher in New York in 1892 I had the opportunity of meeting de Pachmann for nearly two weeks at the home of some musical friends. He was then in the heyday of his powers, and his willingness to play kept him at the piano till the wee, small hours of the morning. On one occasion he threw his arms over his head, describing an immense circle, and said that the room would not contain all the technical exercises and studies he had learned. Who is right, Hambourg or de Pachmann?

p.376 When I had the memorable experience of spending so much time with de Pachmann forty years ago in New York, he called my attention to his economy of movement nearly every time he played. His fingers sometimes made no more movement than is required to rub a little dust off the finger tips with the thumb. And yet I am not sure that de Pachmann gave any attention to the relaxed condition of the arm muscles. He may have played in the correct way from the very beginning and never discovered the wrong conditions which are so disastrous to most students of piano playing.