Scales and arpeggios, as commonly rendered, had no longer interest or charm for him.

He cared for finger passages only when they could be made to suggest what he wanted them to suggest in his own colour-scheme.

With his peculiar touch and facility at command, he rejoiced in turning such passages into streams and swirls of tone, marked with strong accents and coloured with vivid, dynamic contrasts.
"That his passage playing rarely sounded clean and pure--like that of a Rosenthal--was due not only to his musical predilections, but to his hand formation as well.

His hand was broad and rather thick-set, and tremendously muscular.

It would not bend back at the knuckles; and the fingers also had no well-defined knuckle movement.