the year when I am stationary can I do any solid work. Here it is
generally quiet enough: the Zoological Garden is not far away, however,
and sometimes I have the roaring of the lions as an accompaniment to my
piano.

"I am always increasing my repertoire, though I find the public does not
care for new things; it prefers the old. It may listen to the new if
forced to, but it will not attend a recital unless various familiar
things are on the program.

"I have made several tours in America. The rush of travel from place to
place over there, is fatiguing, but I feel that your people are very
appreciative. You demand the best, and concert giving in America is so
costly that a manager can afford to exploit only the highest artists.
Here in London, where the expense is only about two hundred dollars,
say, to get up a recital, almost any one can scrape together that sum
and bring himself or herself before the public. In America the outlay is
four or five times greater. No wonder that only a very good artist can
take the risk."

On leaving, Mr. Hambourg took us to another room, where he showed us
with much satisfaction, a very valuable painting of the old Italian
school, by Ghirlandajo, of which he is very fond.




XII

TOBIAS MATTHAY