AFTER THE first few performances I returned to Biarritz, where I settled with my family and where we stayed for the next three years. There I worked all the winter at Mavra.
It was at this time that my connection with the Pleyel Company began. They had suggested that I should make a transcription of my works for their Pleyela mechanical piano.
My interest in the work was twofold. In order to prevent the distortion of my compositions by future interpreters, I had always been anxious to find a means of imposing some restriction on the notorious liberty, especially widespread today, which prevents the public from obtaining a correct idea of the author's intentions. This possibility was now afforded by the rolls of the mechanical piano, and, a little later, by gramophone records.
The means enabled me to determine for the