human
in England and America is not a mere matter of fashion and folly, but is shared by experts and brethren of the craft, many of whom are irresistibly fascinated by Mr. Paderewski's playing, even while they disapprove of much that he does. Why will he insist on using a pianoforte with so hard a tone? Why is the skelp of his hand on the keys so frequently audible from the most distant point of the hall, as a sound quite separate from the musical notes? Why does he never play Bach? Why does he always play Liszt's second Rhapsodie? Such are a few among the searchings of heart to which Mr. Paderewski's public performances give rise, and to none of them--probably--is there a complete and satisfactory answer. The shallow-toned instrument admits of greater clearness in the bass, and has a more scintillating kind of brilliancy in the upper octaves, and Mr. Paderewski, who likes all passage-work a little staccato, naturally favours it. The rage of his