In general, the whole must be made to sound natural, without musical pretension, and as if it were the production of the moment; and should not create a distorted, overdrawn effect, or exhibit modern affectation.
Each piece that I undertake to teach you will give me an opportunity to talk to you a great deal about the correct expression in playing, and about its innumerable beauties, shades, and delicacies; while I shall pay constant attention to the production of a beautiful singing tone.
The next piece will be Chopin's Notturno in E flat; for your touch has already gained in fulness, and is now unobjectionable.
This is the tyranny with regard to correct execution, which stupidity and folly have taxed me with having exercised towards my daughters.
"Expression must come of itself!" How cheap is this lazy subterfuge of the followers of routine, and of teachers wanting in talent! We see and hear a great many _virtuosos_, old and young, with and without talent, renowned and obscure.

They either play in an entirely mechanical manner and with faulty and miserable touch, or else, which is less bearable, they strut with unendurable affectation and produce musical monstrosities.

In order to conceal their indistinct mode of execution, they throw themselves upon the two pedals, and are guilty of inconceivable perversions.
But let us proceed with your instruction.

You already play your piece intelligently, with interest and enthusiasm, and without any of the modern, empty affectations.

If any other passage should occur to you at the _fermata_ in the second part, which shall lead appropriately to the dominant, try it; and combine it, perhaps, with that which is written.
You may make two passing shakes upon the four final sixteenth notes; but you must play them very distinctly and clearly, and the last one weaker than the first, in order to give it a delicate effect, as is done by singers.