were marvels of neatness and accuracy, and a tone that was mellow and
liquid, though lacking in warmth. His operatic transcriptions, in which
a central melody is enfolded in arabesques, chords and running passages,
have long since become antiquated, but his art of singing on the piano
and many of his original studies still remain valuable to the pianist.

When Liszt and Thalberg were in possession of the concert platform, they
occupied the attention of cartoonists as fully as Paderewski at a later
date. Liszt, his hair floating wildly, was represented as darting
through the air on wide-stretched pinions with keyboards attached--a
play on Flügel, the German for grand piano. Thalberg, owing to his
dignified repose, was caricatured as posing in a stiff, rigid manner
before a box of keys.

Rubinstein and Von Bülow offer two more contrasting personalities. Anton
Rubinstein (1830-1894) was the impressionist, the subjective artist, who
re-created every composition he played. The Russian tone-colorist he has
been called, and the warmth and glow with which he invested every nuance
can never be forgotten by those who were privileged to hear his Titanic
interpretations, over whose very blemishes was cast the glamor of the
impassioned temperament that caused them. "May Heaven forgive me for
every wrong note I have struck!" he exclaimed to a youthful admirer
after one of his concerts in this country during the season of 1872-3.
Certainly the listener under the spell of his magnetism could forgive,
almost forget. Hans von Bülow (1830-1894) was the objective artist,
whose scholarly attainments and musicianly discernment unraveled the
most tangled web of phrasing and interpretation. His Beethoven recitals,
when he was in America in 1875-6, were of especial value to piano
students. As a piano virtuoso, a teacher, a conductor and an editor of
musical works, he was a marked educational factor in music.