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Whether considered alone or in relation to other editions, COLH 40 is a document of prime importance.

Artur Schnabel was one of the greatest Schubert-Beethoven-Mozart players of all time, and any commentary of his on this repertory is valuable.

But Schnabel was a great teacher in addition to being a great performer, and the fact that four of the ten versions I listened to are by Schnabel pupils ( Clifford Curzon, Frank Glazer, Adrian Aeschbacher, and Victor Babin ) also sheds light on the master's pedagogical skills.

Certain pianistic traits are common to all five Schnabelian renditions, most notably the `` Schnabel trill '' ( which differs from the conventional trill in that the two notes are struck simultaneously ).

But the most impressive testimony to Schnabel's distinction as a teacher is reflected by the individuality which marks each student's approach as distinctly his own.