Chapter 1 - Page 2

variations of time, &c., we shall find his attention must have been exercised on many more occasions than when he was actually striking notes: so that it may not be too much to say that the attention of a first-rate player may have been exercised--to an infinitesimally small extent-- but still truly exercised--on as many as ten thousand occasions within the space of five minutes, for no note can be struck nor point attended to without a certain amount of attention, no matter how rapidly or unconsciously given.

Moreover, each act of attention has been followed by an act of volition, and each act of volition by a muscular action, which is composed of many minor actions; some so small that we can no more follow them than the player himself can perceive them; nevertheless, it may have been perfectly plain that the player was not attending to what he was doing, but was listening to conversation on some other subject, not to say joining in it himself. If he has been playing the violin, he may have done all the above, and may also have been walking about. Herr Joachim would unquestionably be able to do all that has here been described.

So complete would the player's unconsciousness of the attention he is giving, and the brain power he is exerting appear to be, that we shall find it difficult to awaken his attention to any particular part of his performance without putting him out. Indeed we cannot do so. We shall observe that he finds it hardly less difficult to compass a voluntary consciousness of what he has once learnt so thoroughly that it has passed, so to speak, into the domain of unconsciousness, than he found it to learn the note or passage in the first instance. The effort after a second consciousness of detail baffles him--compels him to turn to his music or play slowly. In fact it seems as though he knew the piece too well to be able to know that he knows it, and is only conscious of knowing those passages which he does not know so thoroughly.

At the end of his performance, his memory would appear to be no less annihilated than was his consciousness of attention and volition. For of the thousands of acts requiring the exercise of both the one and the other, which he has done during the five minutes, we will say, of his performance, he will remember hardly one when it is over. If he calls to mind anything beyond the main fact that he has played such and such a piece, it will probably be some passage which he has found more difficult than the others, and with the like of which he has not been so long familiar. All the rest he will forget as completely as the breath which he has drawn while playing.

He finds it difficult to remember even the difficulties he experienced in learning to play. A few may have so impressed him that they remain with him, but the greater part will have escaped him as completely as the remembrance of what he ate, or how he put on his clothes, this day ten years ago;