all sorts of wise hints for the budding concert artist, and was in the
habit of saying: 'You must plan a program as you would the _ménu_ of a
dinner: there should be something for every one's taste. And,
especially, if you are playing on a long program, together with other
artists, offer nothing indigestible--let _your_ number be a relief!'


SIVORI

"While studying with Léonard I met Sivori, Paganini's only pupil (if we
except Catarina Caleagno), for whom Paganini wrote a concerto and six
short sonatas. Léonard took me to see him late one evening at the _Hôtel
de Havane_ in Paris, where Sivori was staying. When we came to his room
we heard the sound of slow scales, beautifully played, coming from
behind the closed door. We peered through the keyhole, and there he sat
on his bed stringing his scale tones like pearls. He was a little chap
and had the tiniest hands I have ever seen. Was this a drawback? If so,
no one could tell from his playing; he had a flawless technic, and a
really pearly quality of tone. He was very jolly and amiable, and he and
Léonard were great friends, each always going to hear the other whenever
he played in concert. My four years in Paris were in the main years of
storm and stress--plain living and hard, very hard, concentrated work. I
gave some accompanying lessons to help keep things going. When I left
Paris I went to London and then began my public life as a concert
violinist.


GREAT MOMENTS IN AN ARTIST'S LIFE

"What is the happiest remembrance of my career as a _virtuoso_? Some of