The muscular conformation of a woman’s arm militates against her throwing a stone as far as a man; it also operates adversely in modern piano-playing, where the triceps muscles are a necessity for a broad, sonorous tone. I have considered the pros and cons of emotional intensity in writing of woman as a Chopin player, and shall not again traverse that barren and ungrateful region. The intellect remains to be discussed. Are women intellectual in the interpretative sense? Yes. Without hesitation I answer this question, for music, apart from the creative side, is a feminine art, and one in which woman’s intuitions lead her many leagues toward success. That women have as yet—you mark my use of a future contingency!—that women have as yet exhibited powers of interpretation as keen, as original, or even on a par with men, I am not prepared to say. Illuminative in Bach or Beethoven they are not, though delightfully poetic in Schumann and Chopin. I have never heard a woman play the Hammer-Klavier Sonata, opus 106, of Beethoven with force, lucidity, or imaginative lift. _Enfin_: The lesson of the years seems to be that women can play anything written for the piano, and play it well. In all the music of the eighteenth century, in the sonatas of Haydn, Mozart, and the early Beethoven, in Hummel, Weber, Schubert, Mendelssohn, some of Schumann, some of Chopin, a goodly portion of Liszt, all of Field, Heller, Hiller, Moszkowski, Grieg, Scharwenka, and a moiety of Brahms,—all these composers have been essayed with success. Bach’s Well-tempered Clavichord should be the bread and butter of a woman’s musical _menu_; it should begin and end her day. One may quote Balzac again—that dear Princesse de Cadignan, sometimes called Madame la Duchesse Maufrigneuse, “Women know how to give to their words a peculiar saintliness; they communicate to them I know not what of vibration, which extends the sense of their ideas and lends them profundity; if later, their charmed auditor no longer recalls what they have said, the object has been completely attained, which is the proper quality of eloquence.” And of this species of eloquence is a woman’s playing of Bach and Beethoven and Brahms. It is often charming; but is it ever great, spiritual, moving art?