A year or two ago a young lady came to my studio and asked for a single lesson. She told me that she had been studying in Germany for some years, and named the city, which is one of the well-known musical centers. She was then going to the West on her way home, and stopped a day over in New York expressly for a lesson from me. I heard her play several pieces, and was surprised and pleased with her manner and style. She phrased with intelligence and gave due attention to rhythmic requirements. Her tone was large, full, and musically resonant, and could not have been produced otherwise than through the agency of the upper-arm muscles, which were constantly in active use. The flexibility and elasticity of hands and wrists were also apparent, and finally the evident repose in action of all of these qualities capped the climax. I said to her: "My dear young lady, I cannot add to your playing, for it is already finished and artistic. I might possibly suggest a different rendering in certain parts, but, after all, this would amount only to a matter of taste. If you had studied exclusively under my guidance for a course of years, and I had succeeded in doing my best, aided by your own intelligence and careful practice, I should have sought to bring about just the result which you have reached. I think your teacher must be a young man." "He is," she replied; "but why?" "Because," I answered, "his method is free from the stiffness and rigidity of the old German school. Has he, perhaps, a method of his own?" Her immediate reply was, "He uses your method." She also told me her teacher's name, which I have now unfortunately forgotten. I think this teacher deserves to have more pupils!