Rubinstein came here with a great reputation, and achieved a good success. He had transcendent ability, accompanied, however, by certain limitations. By nature impulsive and excitable, he often lost self-control, and in consequence he frequently anticipated his climax. He was like a general who excelled in a brilliant sortie, but who had not the dogged persistence necessary to a long-sustained battle, and at the critical points he was constantly losing his self-poise. When, however, he did effect a climax, it was apt to be a great one, a jubilee. Liszt, on the other hand, was remarkable for his reserve force and for the discretion with which he made use of it; for if, perchance, he missed a climax he immediately made preparation for a new one, and was always sure to reach the zenith at precisely the right moment. There were occasions on which Rubinstein played with the most wonderful repose, and at such times his playing was musical and poetic in the highest degree. This was particularly the case in slow or moderate movements characterized by tenderness, affection, and fervor. But in the rapid and spirited movements his tendency was to run away and finally to lose self-possession--an affliction to which the large majority of concert pianists are subject. Violinists and singers are not nearly so much so, because they can prolong their tones with steady force, or diminish and increase the tone at will. As I have already pointed out, the case is different with the pianist, for after the piano-key has been struck the tone immediately begins to decrease in power, and this incites the player to produce another tone; so he proceeds a little too quickly, constantly gaining a little in speed and crowding one tone upon the other. The effect is exasperating to the listener, who becomes more and more restless, until finally all quiet and repose is utterly lost. The unevenness in Rubinstein's playing I believe to have been wholly due to the temperamental moods of a man of extreme artistic sensitiveness. He was a thoroughly conscientious artist and worked at the piano incessantly many hours a day. I remember his once saying to me: "I dislike nothing more than to have people say to me, as they frequently do, 'But you do not have to practise, for you are a born genius and get everything by nature.' It is provoking to listen to such stuff after having worked so hard." EVOLUTION IN MUSICAL IDEAS BEETHOVEN PIANOFORTE RECITALS