Andante spianato op. 22, G major

[…] But of all he played when I heard him, I best remember the Andante Spianato […] Physical weakness was not, however, the cause of his tenderly-subdued style of playing. This was his own, and inseparable from his conception of pianoforte touch; it was incapable of modification from any influence whatever. His fortissimo was the full pure tone without noise, a harsh inelastic note being to him painful. His nuances were modifications of that tone, decreasing to the faintest yet always distinct pianissimo. His singing legatissimo touch was marvellous. The wide extended arpeggios in the bass were transfused by touch and pedal into their corresponding sustained chords, and swelled or diminished like waves in an ocean of sound. He kept his elbows close to his sides, and played only with finger-touch, no weight from the arms. He used a simple, natural position of the hands as conditioned by scale- and chord-playing, adopting the easiest fingering, although it might be against the rules, that came to him.