he fact that
he himself had edited many of the sonatas. Another proof is that he was
ready to leave his work in Frankfort, and come to Berlin, in order to
shed the luster of his name and fame upon the Klindworth school--the
youngest of the many musical institutions of that music-ridden,
music-saturated capital.

* * * * *

It was a bright May morning when the Director entered the music-room
with his guest, and presented him to the class. They saw in him a man
rather below medium height, with large intellectual head, beneath whose
high, wide forehead shone piercing dark eyes, hidden behind glasses.

He bowed to the class, saying he was pleased to see so many industrious
students. His movements, as he looked around the room, were quick and
alert; he seemed to see everything at once, and the students saw that
nothing could escape that active mentality.

The class met four days in each week, and the lessons continued from
nine in the morning until well on toward one o'clock. It was announced
that only the works of Brahms, Raff, Mendelssohn and Liszt would be
taught and played, so nothing else need be brought to the class; indeed
Brahms was to have the place of honor.

While many interesting compositions were discussed and played, perhaps
the most helpful thing about these hours spent with the great pedagogue
was the running fire of comment and suggestion regarding technic,
interpretation, and music and musicians in general. Von Buelow spoke in
rapid, nervous fashion, with a mixture of German and English, often
repeating in the latter tongue what he had said in the former, out of
consideration for the Americans and English present.

In teaching, Von Buelow required the same qualities which were so patent
in his playing. Clearness of touch, exactness in phrasing and fingering
were the first requirements; the delivery of the composer's idea must be
just as he had indicated it--no liberties with the text were ever
permitted. He was so honest, so upright in his attitude toward the
makers of good music, that it was a sin in his eyes to alter anything in
the score, though he believed in adding any marks of phrasing or
expression which would elucidate the intentions of the composer.
Everything he said or did showed his intellectual grasp of the subject;
and he looked for some of the same sort of intelligence on the part of
the student. A failure in this respect, an inability to apprehend at
onc