1902 and 1905 is very unlike the Paderewski of
1891. His style more nearly approximates Rubinstein's _plus_ the
refinement of the Henselt school. He has sacrificed certain qualities.
That was inevitable. All great art is achieved at the expense--either by
suppression or enlargement--of something precious. Paderewski pounds
more; nor is he always letter perfect; but do not forget that pounding
from Paderewski is not the same as pounding from Tom, Dick, and Harry.
And, like Rubinstein, his spilled notes are more valuable than other
pianist's scrupulously played ones. In reality, after carefully watching
the career of this remarkable man, I have reached the conclusion that he
is passing through a transition period in his "pianism." Tired of his
old, subdued, poetic manner; tired of being called a _salon_ pianist
by--yes, Oskar Bie said so in his book on the pianoforte; and in the
same chapter wrote of the fire and fury of Gabrilowitsch ("he drives the
horses of Rubinstein," said Bie; he must have meant "ponies!")--critics,
Paderewski began to study the grand manner. He may achieve it, for his
endurance is phenomenal. Any pianist who could do what I heard him do in
New York--give eight encores after an exhausting program--may well lay
claim to the possession of the grand manner. His tone is still forced;
you hear the _chug_ of the suffering wires; but who cares for
details--when the general performance is on so exalted a plane? And his
touch is absolutely luscious in cantabile.

With d'Albert our interest is, nowadays, cerebral. When he was a youth
he upset Weimar with his volcanic performances. Rumor said that he came
naturally by his superb gifts (the Tausig legend is still believed in
Germany). Now his indifference to his medium of expression does not
prevent him from lavishing upon the interpretation of masterpieces the
most intellectual brain since Von Buelow's--and _entre nous_, ten times
the musical equipment. D'Albert plays Bach, Beethoven, and Brahms as no
one else on this globe--and he matches Paderewski in his merciless abuse
of the keyboard. Either a new instrument, capable of sustaining the
ferocious attacks upon it, must be fabricated, or else there must be a
return to older styles.

And that fixed star in the pianistic firmament, one who refuses to
descend to earth and please the groundlings--Rafael Joseffy--is for me
the most satisfying of all the pianists. Never any excess of emotional
display; never silly