This senseless enslavement and abuse of the piano has been said to be "all the rage;" a fine expression of our piano critics to justify insane stamping and soft-pedal sentimentality.
How far what I have here said relates to our modern errors in singing, and how far it may be applied to them, I leave to the intelligence of my readers and to my explanations in subsequent chapters.
To return to my theme: I have still one word on this subject for rational players.

Even they use the soft pedal too much and too often, and at unsuitable places; for instance, in the midst of a piece, without any preparatory pause; in melodies which require to be lightly executed; or in rapid passages which are to be played _piano_.

This is especially to be noticed with players who are obliged to use instruments of a powerful tone and stiff, heavy action, on which it is difficult to insure a delicate shading in _piano_ and _forte_.

For this reason, a sensible and experienced teacher, whose sole aim is the true and the beautiful, should make the attainment of an elastic touch and well-grounded style of playing an indispensable requirement.

I prefer that the soft pedal should be used but seldom, and, if the pedal which raises the dampers is used at the same time, it must be only with the greatest nicety.