Von Buelow was a profound student of the works of Beethoven; his edition of the sonatas is noted for recondite learning, clearness and exactness in the smallest details.  Through his recitals in America he did much to make these works better known and understood.  Nor did he neglect Chopin, and though his readings of the music of the great Pole may have lacked in sensuous beauty of touch and tone, their interpretation was always sane, healthy, and beautiful.

Toward the end of a season during the eighties, it was announced that Von Buelow would come to Berlin and teach an artist class in the Klindworth Conservatory.  This was an unusual opportunity to obtain lessons from so famous a musician and pedagogue, and about twenty pianists were enrolled for the class.  A few of these came with the master from Frankfort, where he was then located.

Carl Klindworth, pianist, teacher, critic, editor of Chopin and Beethoven, was then the Director of the school.  The two men were close friends, which is proved by the fact that Von Buelow was willing to recommend the Klindworth Edition of Beethoven, in spite of the fact that he himself had edited many of the sonatas.  Another proof is that he was ready to leave his work in Frankfort, and come to Berlin, in order to shed the luster of his name and fame upon the Klindworth school—­the youngest of the many musical institutions of that music-ridden, music-saturated capital.

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It was a bright May morning when the Director entered the music-room with his guest, and presented him to the class.  They saw in him a man rather below medium height, with large intellectual head, beneath whose high, wide forehead shone piercing dark eyes, hidden behind glasses.

He bowed to the class, saying he was pleased to see so many industrious students.  His movements, as he looked around the room, were quick and alert; he seemed to see everything at once, and the students saw that nothing could escape that active mentality.

The class met four days in each week, and the lessons continued from nine in the morning until well on toward one o’clock.  It was announced that only the works of Brahms, Raff, Mendelssohn and Liszt would be taught and played, so nothing else need be brought to the class; indeed Brahms was to have the place of honor.

While many interesting compositions were discussed and played, perhaps the most helpful thing about these hours spent with the great pedagogue was the running fire of comment and suggestion regarding technic, interpretation, and music and musicians in general.  Von Buelow spoke in rapid, nervous fashion, with a mixture of German and English, often repeating in the latter tongue what he had said in the former, out of consideration for the Americans and English present.