Grieg (1843- ----), the national tone-poet of Norway, has given the
piano some of his most delightful efforts, fresh with the breezes of the
North.

The veteran French composer, Charles Camille Saint-Saëns (1835- ----),
has won great renown as a pianist, and was one of the most precocious
children on record, having begun the study of the piano when under three
years of age. He was the teacher that knew how to develop the
individuality of the young Russian, Leopold Godowsky, who has done such
remarkable work on two continents, as a teacher and piano virtuoso.

Perhaps the most famous piano teacher of recent times is Theodore
Leschetitzky, of Vienna. His method is that of common sense, based on
keen analytical faculties, and he never trains the hand apart from the
musical sense. His most renowned pupil is Ignace Jan Paderewski, the
magnetic Pole, whose exquisite touch and tone long made him the idol of
the concert room, and who, with time, has gained in robustness, but also
in recklessness of style. Another gifted pupil of the Viennese master is
Fannie Bloomfield Zeisler, of Chicago, an artiste of rare temperament,
musical feeling and nervous power, of whom Dr. Hanslick said that her
virtuosity was stupendous, her delicacy in the finest florid work as
marvelous as her fascinating energy in the forte passages.

The great tidal wave set in motion by the piano has swept over the
civilized world, carrying with it hosts of accomplished pianists. Of
some of those who are familiar figures in our musical centres it has
been said that Teresa Carreño learned from Rubinstein the art of piano
necromancy; that Rosenthal is an amazing technician whose
interpretations lack tenderness; that De Pachmann is on terms of
intimacy with Chopin, and that Rafael Joseffy, the disciple of Tausig,