perfection of all the passage work, there was abundant opportunity in the series of pieces by Beethoven, Chopin, and Liszt to admire that marvellous control of tone which often enables him to reveal fresh melody in quite familiar compositions. The pieces that were least affected by the cross reverberations of the hall were the Etude in extended chords and the C sharp minor Scherzo by Chopin. On the other hand, no one who has not heard Mr. Godowsky under more favourable circumstances can imagine, from the experience of yesterday evening, the magical effect of his performance in the G sharp minor Etude in thirds for the right hand. In playing the exquisite F minor Concert Etude by Liszt he deliberately kept the tone down to a minimum, to avoid the buzz and confusion as far as possible. Liszt's transcription of the "Tannhäuser" Overture was used for the display piece that audiences expect at the end of a recital. It is characteristic of Mr. Godowsky that his favourite amusement is making rearrangements of Chopin's Etudes--the "Godowsky Bedevilments," Mr. Huneker calls them. These include the celebrated combination of the two G flat Etudes, where the left hand has to play the one in the first book while the right plays the legato and staccato improvisation from the second volume, and another in which three Etudes in A minor are brought together contrapuntally. Though they are all of course anathema to the purist, the ingenuity displayed in some of these things is so prodigious that no one interested in pianoforte playing can well be indifferent to them. [Sidenote: =Lamond.= _December 15, 1903._]