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Many pupils, however, as soon as their fingers have acquired some little facility, and led astray by the charms of novelty, run into the error of attacking the most difficult compositions. Not a few who can hardly play the scales in a decent manner, and who ought to practise for years studies and easy and appropriate pieces, have the presumption to attempt Hummel’s concertos or Thalberg’s fantasias!
The natural result of this over-haste, is, that such players, by omitting the requisite preparatory studies, always continue imperfect, lose much time, and are at last unable to execute either difficult or easy pieces in a creditable manner.
This is the true cause why, although so many talented young folks devote themselves to the pianoforte, we are still not so over and above rich in good players, as, beyond all doubt, was the case formerly; and why so many, with the best dispositions, and often with enormous industry, still remain but mediocre and indifferent performers.
Many other pupils run into the error of attempting to decide on the merits of a composition before they are able to play it properly. From this it happens that many excellent pieces appear contemptible to them, while the fault lies in their playing them in a
