Things did not work smoothly either with the sonata for solo cello by Schnabel, which also had been given to me by the composer. Schnabel had consulted me when he wrote it, but its bizarre music fascinated me only when accompanied by Schnabel’s verbal obbligato. He spoke of his musical ideas magnificently, but here, in the middle of the ocean, without his formidable rhetoric, gestures, and demonstrations at the piano, it was much less convincing. I did not spare any effort, but I am afraid that Schönberg and Schnabel, both deeply admired musicians and friends, were disappointed by my noncommittal attitude, or rather by my admission of what I hoped was only a temporary lack of progressiveness. << less