“Music and Drama” (currently edited by Harry Freund, who doesn’t share his brother John C. Freund’s chip-on-the-shoulder attitude to Steinway & Sons), publishes an article praising Paderewski’s first performance in New York: “It must be admitted that if this Paganini of the Piano won a splendid triumph, he did so under favorable auspices. He was heard in the finest music hall on the continent, if not the world; he was supported by a noble orchestra efficiently led; and he had a piano-forte which responded cleverly to his slightest as well as his most powerful touch, and seemed to be gifted with almost a self-intelligence in interpreting every phrase of his musical intent. The most delicate tones were exquisitely distinct, and seemed gifted with a poetic individuality; the most poweful notes were sonorous and grand. Everyone remarked the splendor of the instrument; and though the name of the manufacturer was not conspicuously displayed upon it, the musical instinct of the cultured audience present told them it could only be a Steinway.”