Look around and see who sing these so-called classical songs. They are either singers who do not know what singing is, and who have no taste for it, which, in consequence of their education, they never can have; or those who no longer have any voice, and accordingly sing every thing, or, rather, declaim it, because they cannot sing. I recommend you to sing (to mention the names of two only of our most excellent song composers) the charming songs of Fr. Schubert and Mendelssohn, who, in constant intercourse with the most judicious masters of singing in Vienna and Italy, have striven constantly to compose scientifically, and have at the same time produced clever songs; but you should sing them not too often, or too many of them. Singing in the German language, and in syllables, and often with clumsy melodies, requires a great deal of voice, and easily leads to many faults and to a false manner. Remember how strictly Jenny Lind selected, for performance in her concerts, the songs of Schubert, Mendelssohn, and Schumann. In this way she succeeded in winning great success, even with small, short songs.
Finally, one more secret for performers, which weighs heavy in the balance. You ought, especially if you have not received good early instruction, to acquire a habit of moving the fingers very frequently, at every convenient opportunity; and particularly of letting them fall loosely and lightly upon any hard object, while the hand lies upon something firm, in an extended position.
You must accustom yourselves to do this unconsciously. For example, while reading, at table, or while listening to music, allow your hand to lie upon the table, raise the fingers, and let them fall, one at a time, quite independently of the wrist; particularly the weak fourth and fifth fingers, which require to be used a hundred times more than the others, if you wish to acquire evenness in the scales. If it attracts attention to do this on the table, then do it in your lap, or with one hand over the other. To drum with your fingers and stretch your hands on the backs of other people is not often practicable, and is not necessary. That was only pardoned in the zealous and original Adolph Henselt, who, though otherwise such a modest and amiable artist, even now, in St. Petersburg, makes himself ridiculous in this way, by his practice of finger movements.
Now you perceive the reason why I cannot answer the question which has been asked me innumerable times. How much do your daughters practise? I cannot count up the finger movements and the stray ten minutes just spoken of; but it is certain that they practise fewer hours in the day than many thousands who learn nothing, for they never practise and never have practised wrongly, but always correctly and advantageously.
One thing more. After my experienced, watchful eye had observed in our circle many moving fingers in consequence of my lecture, a distinguished lady of Vienna whispered in my ear: "But, my dear Herr Wieck, my Amelia is not to be a professional player: I only want her to learn a few of the less difficult sonatas of Beethoven, to play correctly and fluently, without notes." My dear ladies, I do not aim with you at any thing more than this. A great many circumstances must combine for the formation of fine concert performers; in fact, the whole education, from the earliest youth, must have reference to this end. If this were not so, Germany especially, on account of its natural musical talent, would be able annually to furnish thousands of virtuoso performers.
Has my lecture been too long to-day? I ask your pardon. My desire to make myself useful to you must be my excuse, if I cannot dispose of such an extensive subject in a few words. I have not yet exhausted it.