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THE playing of Moscheles was in a direct line of descent from Clementi and Hummel, and just preceded the Thalberg school. Moscheles was fond of quoting these authorities and of holding them up as excellent examples for his pupils. He advocated a very quiet hand position, confining, as far as possible, whatever motion was necessary to finger and hand muscles; and by way of illustration he said that Clementi's hands were so level in position and quiet in motion that he could easily keep a crown-piece on the back of his hand while playing the most rapid scale passages.

I was not much surprised at this, for I knew it had been said of Henry C. Timm of New York, an admirable pianist of the Hummel school, that he could play a scale with a glass of wine on the back of his hand without spilling a drop. I, boy-like, could not resist the temptation to repeat what I had heard. There was a curious expression upon the face of our good teacher, which gave the impression that he thought it a pretty tall story, and my fellow-pupils put it down as a yarn prompted by desire on my part to get ahead of Moscheles. Among these was Charles Wehle of Prague, of whom I saw a good deal. Some years later, after I had left Weimar for America, Wehle happened to visit Liszt. My name was mentioned, and Wehle asked, "Did you ever hear his wonderful tale about Timm, the New York player?" Then he repeated the anecdote, but changed the glass of wine to a glass of water. Liszt shook his head incredulously, and said, "Mason never said anything about a glass of water all the time he was in Weimar."

Moscheles was an excellent pianist and teacher, but he was already growing old, and his playing of sforzando and strongly accented tones was apt to be accompanied by an audible snort, which was far from musical. However, as a Bach-player he was especially great, and it was a delight to hear him. One evening, after my lesson, he began playing the preludes and fugues from the "Well-tempered Clavier," and I was enchanted with the finish, repose, and musicianship of his performance, which was without fuss or show. I have never heard any one surpass him in Bach.

Paderewski's Bach-playing is much like that of my old teacher. Several years ago, in company with Adolf Brodsky, the violinist, I attended one of Paderewski's recitals given in this city. After listening to compositions of Bach and Beethoven, Brodsky said: "He lays everything from A to Z before you in the most conscientious way, and through delicacy and sensitiveness of perception he attains a very close and artistic adjustment of values."

Thoroughly in accord with Brodsky, I vividly recall the similarity of Paderewski's interpretation to that of Moscheles, both being characterized by perfect repose in action, while at the same time not lacking in intensity of expression. The modern adaptations and alterations from Bach are not here referred to, but the music as originally written by the composer. In Paderewski's conception and performance, like that of Moscheles, each and all of the voices received careful and reverent attention, and were brought out with due regard to their relative, as well as to their individual, importance. Nuances were never neglected, neither were they in excess. Thus the musical requirements of polyphonic interpretation were artistically fulfilled. Head and heart were united in skilful combination and loving response.

While I was in Leipsic, Moscheles celebrated his silver wedding, and one of the features of the occasion was odd and interesting. I forget whether I had the story direct from him or from one of my fellow-students. It is as follows: At the time Moscheles was paying attention to the lady who afterward became his wife he had a rival who was a farmer. What became of the farmer after Moscheles carried off the prize history does not make clear. A friend of Moscheles, an artist of ability, conceived the unique idea of commemorating the joyous anniversary, and, putting it into act, he painted two portraits of Mrs. Moscheles, one representing her as she appeared on that interesting occasion, and the other giving his idea of how she would have looked after twenty-five years of wedded life had she married the farmer.