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.