[1] In May 1892, after a performance of Beethoven's Choral Fantasia, he wrote: 'To those who cannot understand how anybody could touch a note of that melody without emotion, her willing, affable, slap-dash treatment of it was a wonder'.

But a year later, at her Crystal Palace performance of the Chopin F minor concerto, he was warming to her, calling it 'the most successful feat of interpretation and execution I have ever heard her achieve'.

Her once-popular late 1920s recording of Schumann's Piano Concerto in A minor represents a direct tradition from the composer.

In 1892 (28 March, 2–4 April), she appeared with Richard Mühlfeld and Alfredo Piatti in the first London performances of the Brahms Clarinet Trio in A minor, Op.

In her accompaniment of Joachim in the Brahms Hungarian Dances (April 1892), Shaw referred to her 'curious tricks and manners which so often suggest wicket-keeping rather than piano-playing.'

The success of these two native artists was destined to afford great encouragement to rising students both in England and on the continent.

It also helped to create among the general mass of amateurs a taste for pianoforte playing of a more warm-blooded type than had hitherto satisfied them', wrote Herman Klein in c. 1891.