About this time he [Jack, the author's brother] turned to fresh fields of music, especially the French: Debussy, Gabriel Fauré, Franck and his pupil Chausson, and Maurice Ravel.  He played the pianoforte works of these masters in the new, impressionist idiom, and found others such as Scriabine, Liadov, Cyril Scott and Arnold Bax, whose delicacy and disturbing sonorities became subscriptive to his own personality, as he shaped the beauty of their work on the Erard piano, under his subtle hands, causing passers-by to pause in the street, and our landlord and landlady to desist from their occupations, to come out and sit at the foot of the stairs, to listen, huddled together like love-birds.