Scan 18
Musical Courier 1893-01-04: Vol 26 Iss 670, 1893
67 lines. Read by computer on 20 September 2026, twice; the two readings disagreed in places. Printed page 19. See the scan on archive.org.
1PADEREWSKI.
3Return of the Great Pianist.
5STRONGER physically, stronger in his art, Ignace Jan Paderewski faced an enormous audience last Monday afternoon at Music Hall and again played the piano like a demigod. Let it be premised at once that in his treatment of the usually unresponsive instrument of wood and wires Paderewski is unique; his touch is peculiarly original; his treatment of hackneyed passage work is so distinctive as to spiritualize the most mechanical feature in piano playing. Most pianists keenly differentiate their passage and their cantabile playing.
7Even those artists who possess a beautiful singing touch become automatic the instant involved figure work is to be played. They may sing their song, but arpeggios, double notes scales, octaves are given crisply, distinctly, but as something not integral with the composition; in a word, technic becomes master, and the pianist a slave to finger velocity. Not so with Paderewski; with the same accuracy, deftness, endurance, clarity, he sings, always sings. His scale shimmers golden along the keyboard, but it ever sings.
9In the most rapid flights one never misses the sense of foundation, of legato. He is the most lyrical artist, in the true sense of the word, of his generation. He draws from the piano a pure, prolonged volume of tone, which he molds sculptor wise into the loveliest of images; for Paderewski is one of those artists to whom the Beautiful is concrete, a thing to be felt and heard, and all ugliness abhorrent. One never could fancy this young poet being in sympathy with certain moods of Brahms and Tchaikowsky—moods in which the ugly truths of life are half revealed; harsh, crackling moods of doubt and unfaith.
11The bitterness of sorrow, in Paderewski's music, is mutely veiled; agony there is, but it is transfigured, translated into terms of beauty. Paderewski feels deeply and his hearers feel with him, but his feeling is suave, serene; even his brilliancy is never metallic or unlovely. The playing; then, of this man is eagerly listened to, simply because he soothes, softens, makes sweet even adversity. The great heart in his bosom is for humanity. Ah, there is the word, he is human; it is a human being, not a clanking technical machine, that sits at the piano.
13Messieurs the pianists, this is the secret of his sway over the multitude, not his marvelous facility nor yet his golden halo. He plays on one's nerve pulps; his melodic fingers are unerring in their diagnosis of the most recondite feelings. He is the artist of sentiment, the explorer of the human soul—the feminine soul—a very Paul Bourget of the ivories. This over soul, as Emerson would say—this excessive sensibility leads him at times to over accentuate his "qualité." He has, like all beings under the moon, the vices of his virtues; but, then, what colossal virtue!
15The wan, pre-Raphaelistic creature of last spring is now a robust, fresh complexioned young man with the old cat-like walk and the same dual bow—one to the audience, the other to the Steinway grand, which stood him so nobly in the long trying program of this initial concert. To be frank, this program was not ideally constructed. We were promised Beethoven, we got Weber. We asked for Brahms and were given Paganini. After Paderewski had struck that booming chord of A minor as a prelude to the Bach number it was instantly apparent that there was an immense reservoir of tone to be let loose, and there was, indeed. The A minor fantasia and fugue in A minor, which the holy father Franz Liszt deviled up for concert performance, was wonderfully played. The fantasia thundered like an organ, while the voices of the fugue were so clearly traced, colored and individually treated that it became as a sounding tapestry in which fantastic arabesques of gorgeous hues intermingled, the varying designs never, however, losing their identity.
17The artistic validity of this arrangement, or derangement, is questionable. But Paderewski, as Liszt did when he played it, solved all the unmusical riddles of the paraphrase, and musically it was a tour de force. Weber's chivalric A flat sonata (the second) is seldom done justice to. Hovering as it does about the debatable border land of the classical and the romantic, it offends purists by its occasional trivial themes, but it is a sterling piece of writing, nevertheless, and its florid designs, amiable tonal frecoes, air of aristocratic distinction and genuinely musical rondo make it a most desirable work for the eternal monotony of the modern piano repertory. It was delightfully played, with just that measure of freedom, elegance, finish and joyousness that it needs. The minuet, with its D flat trio, was rippled off and the end was peaceful and unaffected. one of two readings
18The artistic validity of this arrangement, or derangement, is questionable. But Paderewski, as Liszt did when he played it, solved all the unmusical riddles of the paraphrase, and musically it was a tour de force. Weber's chivalric A flat sonata (the second) is seldom done justice to. Hovering as it does about the debatable border land of the classical and the romantic, it offends purists by its occasional trivial themes, but it is a sterling piece of writing, nevertheless, and its florid designs, amiable tonal frecoes, air of aristocratic distinction and genuinely musical rondo make it a most desirable work for the eternal monotony of the modern piano repertory. It was delightfully played, with just that measure of freedom, elegance, finish and joyousness that it needs. The minut, with its D flat trio, was rippled off and the end was peaceful and unaffected. one of two readings
20Schumann's familiar "Nachtstück" in F came next; then the second étude from the Paganini violin études transcribed by Schumann, the one in E. This was astoundingly played, the violin effects, glissandos and staccato chords being cunningly simulated on the piano. Paderewski's A minor variations on an original theme, his first set, are well known to local pianists, though seldom, if ever, heard in public. They are most pregnantly conceived, and for technical and melodic invention rank just below the masterpieces in this form by Brahms, and are far superior to contemporary variations by Rubinstein, Tchaikowsky and others. Fifteen in number, these variations are full of curious and fresh sounding harmonies, a rhythmical life most varied and vivacious, and rich coloring peculiarly Paderewskian. The glissando variation, of course, excited wonderment, for Paderewski by his management of the pedals here gains most novel effects. The fugue, with its virtuoso ending, is a good piece of musical writing and a worthy climax to the whole.
22Paderewski's dynamics are unparalleled. He not only commands every grade of tonal color, but uses the whole so judiciously as to generate the theory that perhaps as a painter he would have been as great as a pianist. The applause after the variations was so overwhelming that the pianist had to play his own poetically conceived B flat nocturne, with its lulling rhythms and birdlike refrain. Why must one speak ever of this pianist in poetic similes? The Chopin group included the F sharp nocturne, the C and B flat preludes, an unfamiliar mazurka in C, the great barcarolle in F sharp, and the first A flat valse. The latter he repeated, for he had so rehabilitated its trite measures that it came in the nature of a revelation.
24The C major prelude—the first—Paderewski played twice without stopping, greatly enhancing its harmonic values. The barcarolle was a most Chopin-like performance, with the exception of an undue prominence in the bass figure, when it is in octaves. Here, for a moment, the tonal symmetry suffered. This barcarolle is one of Chopin's most elaborate compositions; in form, an extended nocturne, with some lovely episodes and undulating bass, and a coda which is like filaments of spun gold, so ethereally fine and so warmly tinted is it. It is indeed an acquisition to the Paderewski programs.
26With Liszt's tenth Hungarian rhapsody (called "Prelude"), the concert closed in fire and flame, whose bizarre music fairly smoked under Paderewski's ardent fingers. The same composer's thirteenth rhapsody was given as encore. Great brain, great hands, great heart, of this Polish tone charmer, it might be said in the words of Schumann, slightly altered, "He is the proudest poetic pianist of his time!"
28Next Saturday afternoon the second matinée will occur, same place and at the same hour.
30Concert at the Tombs.—The annual New Year's concert at the Tombs took place on Monday afternoon under the auspices of Mrs. A. C. Taylor, who has been leading the movement every year. She had the assistance of Mrs. M. A. Studwell and Mrs. Beekman De Peyster. The artists were Mrs. Ogden Crane, Mrs. A. C. Taylor, Bertha Brousil, Mr. Harry Pepper, Mr. Arveschou, and Miss Florence Taylor and Charles Dietrich, accompanists.
32Albert Greenhalgh Engaged.—That excellent accompanist, Mr. Albert Greenhalgh, has been engaged by Mr. L. M. Reuben for the Brooklyn concerts of Wolff and Hollman.
34To Lecture at Pittsburg.—Miss Amy Fay has been engaged for a piano conversation in Pittsburg, Pa., on January 11, to be followed on the 12th by a lecture on the Deppe method, illustrated by exercises, scales and études at the piano.
36At Lakewood.—The patrons of the "Lakewood," N. J., were delightfully entertained on Friday last. A recital of songs and ballads was given by Miss Emma Juch and Mr. Harry Pepper. The little theatre was packed from one end to the other. Miss Juch sang delightfully and Mr. Pepper gave some ballads with his accustomed finish.
38PENNSYLVANIA STATE MUSIC TEACHERS' ASSOCIATION.
40Fourth Annual Meeting in Reading, Pa.
42TUESDAY, WEDNESDAY AND THURSDAY, DECEMBER 27, 28 AND 29.
44A Financial and Musical Success—Large and Enthusiastic Gathering.
46[FROM OUR SPECIAL CORRESPONDENT.]
48THE sun shone brightly during the ceremonies of the Pennsylvania State Teachers' Association in Reading last week, and the brilliance of the outer air was fully complemented by the cheerful and social character of the proceedings within the Grand Opera House, where the convention occurred. The pleasant weather continued so steadily that a great number of out of town visitors attended the sessions of the association to enjoy the excellent programs submitted for approval.
50On the morning of the 28th the session was opened by an address of welcome by the Mayor of Reading, who, in feeling and appropriate phrases extended a cordial invitation to visitors to look upon the freedom of the city as their own, and added that the Board of Trade placed its rooms and offices at the disposal of the guests who might honor them with a call. His honor then proceeded to emphasize the position which music holds in the hearts of the people, and remarked that the residents of Reading felt themselves particularly honored in having their city selected as the meeting place for an association so worthy promoting an art as is exemplified in the world of music.
52At the conclusion of his honor's address, Mr. Edward A. Berg, the president of the association, supplemented the mayor's welcome, and proceeded to announce the purposes for which the meeting had been called. President Berg's address is given here in full:
54ADDRESS OF PRESIDENT BERG.
56FELLOW TEACHERS, LADIES AND GENTLEMEN—It gives me special gratification to greet you, my co-workers, in this my own city, and I earnestly hope it will be a season of profit and pleasure to us all. I will present to you briefly what seem to me a few practical thoughts for the good of the association, which its members may aid in materializing.
58With a view of obtaining as clear a knowledge as possible of musical affairs in this State I opened a correspondence with teachers and those interested in music in every county.
60I regret that my report will lack in the completeness I would desire, owing to many unanswered letters; but, on the other hand, I was recompensed by finding in unexpected quarters a most encouraging outlook in the way of schools devoted solely to music in all its branches, and especially the increase of choral societies. I note with satisfaction the revival of the old singing school, with marked improvement in the system of teaching, and in a quiet way many little groups devoted to the study of a high order of music, all tending in the right direction. Earnest encouragement should be given to this renewed interest in the singing school, because it is there that vocalists are taught and carefully drilled in that great essential—sight reading. I am sure it has been the experience of many of us to find singers with excellent voices, which have been cultivated by vocal teachers of high reputation, who lacked this requisite. Many of these in their turn become teachers, and we can easily sum up the result in one important respect. We all know the consequences when "the blind leads the blind." An incalculable help will also be found by having musical instruction an established feature in the public schools. It is a hard matter to get individual school boards to adopt this noble branch of study, even where the cost is as small as in this city, where 9,000 children are taught music at an annual expense of only $1,200. Although we have been successful in introducing this divine art in a few of our public schools, and already see good results, the only way to make the work permanent and effective would be by legislation. I would therefore suggest that a committee be appointed to draft a petition to our State Legislature for such action as shall place the study of music or singing in the public schools on an equal footing with that of other branches of learning.
62This organization has now entered its fourth year, and much excellent work has been done, but a vast region still lies unexplored before every musical Columbus.
64The success of the last annual meeting, held at Pittsburgh, made it possible to liquidate the debt resting upon the association, and we start out anew with a small balance in the treasury, which I hope will be considerably augmented at the close of this meeting, and I trust that our interests will be so guarded in the future that the balance will always be in our favor, and that some day we may possess a fund the interest of which will pay the expenses of our annual meetings. This might be partly accomplished by increased membership. Each one can certainly by personal solicitation add one active subscriber, and thus double the material income, not to speak of the higher gain in the enthusiasm of numbers, and the still greater benefit from the interchange of thought and the exchange of experience and sympathy. I was sorry to hear that some of the original members of the association declined to subscribe any longer because some of inferior ability were also identified with it. The first suggestion of such an ignoble spirit should be stamped out; for this organization is to be not only a musical propaganda, but a well of knowledge from which everyone, small and great, may drink and be wiser.
66If cannot be too strongly urged upon teachers to advocate more and more firmly the highest standard. In these last
The computer misreads some letters and numbers. Where a name matters to you, read the scan.