Arthur Friedheim

When he plays he comes forward and bows in such a way that his hair covers all his face; then he throws his head back to tidy his mane.

He examines his nails, considers the audience, thrusts his hands into the air, and does other silly things.

[5] Friedheim also gained orchestral experience conducting in theaters and opera houses in Germany.

Friedheim's pianism was considered awesome technically but he was most noted for the clarity and repose in his interpretations of Liszt's music.

One of these is considered a curiosity—a rendition of the funeral march from Frédéric Chopin's Second Piano Sonata in which Friedheim plays to the end of the trio and, having no more room on the record, simply stops.

His operas include The Last Days of Pompeii (not performed), Alexander and Thais and Die Tanzerin; two others, The Christians and Giulia Gonzaga, were left unfinished.

He wrote two piano concertos, an orchestral overture A Hero of our Times, a symphonic poem Transitions and a march E pluribus unum.