In this connection, I remember Rubinstein's telling me as long ago as 1873, in the artists' retiring-room during one of his recitals at Steinway Hall, that he used in his boyhood's days "to do all sorts of things with Chopin's etudes," as he expressed it, "in order to exercise and strengthen the fingers." By way of illustration, he went to an upright piano which happened to be in the room, and began playing with his left hand alone the right-hand part of the chromatic-scale etude; "Op. 10, No. 2," and this he did with fluency. Godowsky has played his arrangements to me on several occasions at my studio and at home _en famille_, and has invariably produced a state of happy good humor which was of long duration and which in large measure returns to me as I write. April 20, 1901. Yesterday evening I attended the farewell concert of Ossip Gabrilowitsch, the talented young Russian pianist. He was at his best, and proved his right to stand in the front rank of modern pianists. His playing throughout of a program of compositions of Beethoven, Brahms, Chopin, and Liszt was masterly, combining as it did genuine musical quality, intelligence in phrasing, and great brilliancy, as well as poetry in interpretation. He is yet a young man and has not reached the full climax of his power, and will doubtless show still further development in the next few years. Other pianists who have played in New York during the season of 1900-01, and who deserve to be classed with the highest, are Harold Bauer, who has deservedly won a very high reputation through his splendid ability in all styles of piano music, and Arthur Friedheim, whose recent concert was brilliant in high degree, and who on that occasion gave an interpretation of Liszt's great "Sonata in B Minor" which it seems to me was not surpassed by the master himself--and I have heard Liszt play this work many times. Richard Burmeister also gave a masterly interpretation of this same sonata earlier in the season. This is the sonata, by the way, of which mention has been made, in the earlier part of these "Memories," as having been played by Liszt on the occasion of the first visit of Brahms to Liszt, in the year 1853. We have also had Teresa Carreno, Adele aus der Ohe, and Fannie Bloomfield-Zeisler, all of them of the first rank and established reputation. Of these the first-named is a friend of long standing, for my first acquaintance with her dates back to the early sixties, when she first came to New York as a child prodigy. I well remember the impression she made upon me at that time, both from her artistic playing and her charming appearance in short dresses and "pantalets," the fashion for children of that day. A friendship was immediately begun and established, which still continues. Josef Hofmann, with his tremendous technic and executive skill, has given pleasure to many; and Arthur Whiting, Howard Brockway, and Henry Holden Huss have ably upheld the reputation of American virtuosos and composers.