For music is essentially an art that demands interpretation at least, for its highest effect and appeal. There are continual controversies about this aspect of music, but in my opinion the pianist whose part it is to be the public performer must find in the interpretation of the music the kernel of his whole profession.

Of course, the boundary line between interpretation and the odious vices of distortion and perversion must be kept carefully in view, and for this reason there are some basic rules to guide the student, from which it is impossible to diverge, and it is about some of these that I wish to speak here.

As regards what is now commonly called classical music, as distinct from the romantic or modern creations, it comprises most of the compositions that were written up till the death of Beethoven in 1826. In this kind of music the ideas and effects are for the
most part presented by means of certain recognized and distinct forms of expression, and these, though greatly amplified and varied according to the genius of the composer, remain very similar as regards the main structural features.

Around this great school of musical thought, which contains some of the finest treasures of pianoforte literature, many traditions have arisen as to the methods by which the interpretation of such masterpieces should be approached. This is due partly to the distance that separates us from the time of their creation, but mainly to the fact that some pre-eminently great performers have given renderings of these works at various periods, which renderings have been handed down by their pupils and followers, who afterwards themselves became teachers on a lesser plane. Thus the tradition grew up from teacher to student, until by degrees it crystallized itself into a prescribed and definite point of view that has to be taken into account.