I received considerably over one hundred lessons from Dreyschock, and with slow and rapid scale and arpeggio practice his instruction had special reference to limber and flexible wrists, his distinguishing feature being his wonderful octave-playing. Beyond the wrists, however, the other arm muscles received practically little or no attention, and the fact is that during my whole stay abroad none of my teachers or their pupils, with many of whom I was intimately associated, seemed to know anything about the importance of the upper-arm muscles, the practical knowledge of which I had acquired through the playing of Leopold de Meyer as described in the earlier part of this book. In the Tomaschek method, as taught and practised by Dreyschock, the direction to the pupil was simply to keep the wrists loose. To be sure, this could not be altogether accomplished without some degree of arm-limberness, but no specific directions were given for cultivating the latter. So far as wrist-motion is concerned, Leschetitsky's manner of playing octaves has much in common with the Tomaschek-Dreyschock method, if the former may be judged from the playing of most of his pupils, who seem to pay but little attention to the upper-arm muscles. This is quite natural when it is remembered that Leschetitsky was in some sense an assistant of Dreyschock when the latter was at the head of the piano department in the Conservatory of Music at St. Petersburg. The Leschetitsky pupils, however, have a manner of sinking the wrists below the keyboard which was not in accordance with Dreyschock's manner of playing. It seems to me that the latter's method of level wrists is more productive of a full, sonorous, musical tone. I remained with Dreyschock for over a year, taking three lessons a week and practising about five hours a day. I played also in private musicales at the houses of the nobility and at the homes of some of the wealthy Jews, two classes of society which were entirely distinct from each other, never mingling in private life. I met and became well acquainted with Jules Schulhoff, whose compositions for the pianoforte were very effective, but more appropriate to the drawing-room than to the concert-hall. PRINCE DE ROHAN'S DINNER