 I want to, though, before we have Barbara play, do you mind playing? No, I'll play for you. I know you know you will. I want to read the requirement by probably the third most renowned virtuoso that ever lived, the most intelligent man, Ferruccio Buzoni, who celebrated his 100th birthday, the death of his recently 100 years. And this is what he says. This is an article he writes, the requirements for a great virtuoso. And this is unbelievable, because the man had an idealism that no one could come up to. But he writes it anyway. A great virtuoso must, first of all, be a great technician. Further, the great virtuoso must necessarily have an unusual intelligence and culture. He must be widely educated in music and literature, in all matters affecting human existence as well. The virtuoso must also have character. If one of these requisites is missing, even one, for him, the deficiency will be apparent in every phrase he plays. Then add to that feeling, temperament, imagination, poetry, and finally, that personal magnetism, which sometimes enables the player to inspire 4,000 people, strangers, whom chances brought together with one and the same state of feeling. There is still the presence of mind you must have. Some just never could really have that presence of mind to play in public. And some, you have to also have that ability to control your mood in immensely irritating conditions. The acoustic could be bad. The piano could be horrible. The ability to arouse the attention, even, of the public. And then finally to forget the public. Shall one add the feeling of form, structure, style, and of good taste and originality? Yes, the virtuoso must be a quick change artist from Bach metaphysician to Mozart gallantry to Beethoven, God knows what, and Scriabin's eroticism. And these are all such worlds apart. No actor could ever have to, and I think you'll agree, be a gypsy enlist and then be a poet in a Chopin nocturne. It is incredible what is demanded of the piano. And that is one of the things that we're trying to get clear, what I love about Barbara's playing is that she takes, from a pianist's point of view, risks that so few. And when we were talking, you said, that's one of the things today that the young pianists, they're just so terrified of every note. And you said, where are the risks? Want to say a little on that? Yeah, this was what we, I think this is... That's enough. No, this is all about the virtuoso. The former pianist, you could recognize him. They were much more individuals now. And they were taking risks because risk is all about life. It's all about pianisms, all about art. And nowadays, many of these young pianists, because of all these competitions, they are so scared to hit one wrong note. So it's also because of the DVDs and the CDs, they're aiming for perfection and perfection is going to be the end of art and of piano playing. The true, I believe the true definition of virtuosity is that it enables the artist to take the risk, to play with a band and to really go to a higher place to get under the notes, to get beyond the notes. So you can touch the souls of the audience. That's what the purpose of, it's freedom. That's the purpose of that. You see, a list is so fantastic because you see there is the first manifestation of a middle-class public that he sees and he knows that these people must be conquered through art. They didn't understand popular music. There were not, you know, there was another world. And what he did with this genius from Chopin on was to teach us what the piano could do under Beethoven and especially under Mozart and the classical composers. It was still a developing and timid instrument and it could fall apart. But by Liszt's time, you had the iron frame which was invented by an American in Boston that would become part of a chickering company. And this, without this iron frame, you see tears where technology and art really work, you would never be able to have had these transcendental etudes. One of the pieces that Barbara is, it's not even an affection or a love, it's an adoration which is higher than love. And it's the Liszt sonata and her DVD actually analyzes this drastic and intellectuality, but what a work. But within it is also the grand manner. The grand manner is a part of what virtuoso is. Virtuoso is not some stuntman. Virtuosity is a very different thing to be so respected and it's so beyond the machine because it comes from the humanity of the most important thing the human being has, the hands. The grand manner of playing, a great many people speak of it as though it were the special manifestation of a special period of time. Like crinolines or stuff boxes. No, the grand manner did not come in at one special date and go out. At another, the grand manner is very simply a grand manner. And I hope a few of us still have it in us. A manner of playing which forms itself upon grand concepts makes such concepts personal by grand enthusiasm and paints its pianistic pictures in bold, brilliant grand strokes. And it's a rhetorical thing. It is a matter of personal conviction, personal inspiration, personal idealism. All of this, we heard in Buzoni there talking about what the pianist needs, personal thought. The mere typical representative of this modern day seemed less concerned with the free outpouring of generous enthusiasm than with the practical means of achieving some goal. It is not considered smart to give unfettered expression to one's deepest emotions. One must be nonchalant and practical. We've never heard of Louis Marchand, but he was the greatest of all French organists. And he came to Germany because he had heard that the greatest organist in Germany was Bach. And he liked competitions. It was the same then, people were competitive. And he was going to, and there was an arrangement, not in Leipzig, but in Dresden, that they would be playing a competition. And there is a wonderful church by his, an organ in his church by Silbermann, his friend, organ builder. And this man got up very early in the morning because Bach was traveling from Leipzig, improvising in, and he heard Bach, and the contest never happened. He hightailed himself back to Paris. And so Bach didn't have a chance to beat him. But the point is that Bach was the greatest virtuoso of the organ that ever lived, and probably very close in the harpsichord, and certainly he must have been a beauty in the clavichord.