p.125 I cannot recall Paderewski's Chopin, but Pachmann played Chopin as nobody else since, in the Waltzes and the Nocturnes; for the larger and stronger Chopin forms he needed a weightier and more significantly pointed harmony. His tone moved light as thistledown; his interpretations were miniature and gem-like. For all his eccentricities of personal behaviour on the piano stool (which I am told he reserved for English audiences), he was a purist of the instrument. "If I played like the rest," he said, "I'd never play at all." Now and again Pachmann's loving preoccupation with melody in Chopin reminded us of Wagner's gibe that Chopin was a composer for the right hand. Wagner, I take it, never heard the Études, and in any case he would naturally enough find his musical imagination drawn to the Bellini influences in the Nocturnes, which had at least something to do with the melodic rise and fall in "Tristan".