In Bach's time many embellishments were used in playing the clavichord. They were all included under the general title _Les Agrements_, or, in German, _Manieren_. Of these the mordent, almost identical with the modern _Pralltriller_, was in most frequent use. It is quite a little thing and simple enough, but there are few players who succeed in giving it the right snap or rattle, without which its true significance is wholly lost. I have already mentioned playing this concerto with Klindworth and Pruckner at a court concert in Weimar. While previously rehearsing it, Liszt was very particular in his directions, especially regarding the mordents, and we did our best to follow them. Moreover, Liszt was an authority. He always made thorough investigation of a subject before expressing an opinion upon it, and he was very careful to give a historically accurate and truthful rendering of these old-fashioned ornaments. I afterward found that when three pianists came together for the purpose of playing this concerto a good deal of time was wasted in discussing the proper way of playing the mordent. It was on the program of the Mason-Thomas matinees in New York more than once, and on one occasion we had the assistance of the well-known pianists Messrs. Timm and Scharfenberg. There was no friction at that time, as the three performers were of one mind. In May, 1873, Theodore Thomas arranged a grand musical festival in New York, of which Rubinstein was the principal attraction. The "Triple Concerto" was one of the features of the festival. Rubinstein played the first piano, and Mills and I the other two. The concerto has the accompaniment of a string quartet, which may be doubled or increased to the size of a small orchestra if desired. It was thought best to have a preliminary rehearsal for the three pianos alone, and a time was appointed for our meeting together at my studio in Steinway Hall. Mr. Thomas, not being familiar with the concerto, wished to be present in order to become acquainted with it, and at the appointed time was the first to make his appearance. I told him that Rubinstein, not precise in historical methods, would play the mordents in accordance with the mood in which he happened to be. "However," I continued, "I have an old book by Friedrich Wilhelm Marpurg, published in Berlin in 1765, in which he gives written examples of all of the _Manieren_. We will show this to Rubinstein and have some fun. But I do not propose to waste time in discussions. He can play as he likes, and Mills and I will follow suit."