Scan 35
Musical Courier 1899-11-29: Vol 39 Iss 1028, 1899
85 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 36. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1De Pachmann.
3Extraordinary Success of the Pianist on His American Tour.
5Since the arrival in this country of Vladimir de Pachmann he has enjoyed an uninterrupted series of successes, and Manager Wolfsohn is wholly satisfied with the results. The first recital De Pachmann gave in Mendelssohn Hall won every music critic on the New York press and aroused great interest among the musical people of the city. The subsequent recitals in the same place emphasized the impression made by the pianist at his first appearance.
7After his New York recital De Pachmann went to Atlanta and played before the largest audience that ever attended a piano recital in that city. He returned to New York, and again played to an assemblage of music lovers that overflowed Mendelssohn Hall.
9Afterward De Pachmann played twice in Boston with the Boston Symphony Orchestra, and is engaged for two more concerts. He also gave four recitals there, and is engaged for three more in the spring.
11The short and rapid tour through the West was so successful that many return engagements were secured. In Chicago De Pachmann gave two recitals. In December he will give three more and in January two.
13So insistent have been the demands for return engagements, and so numerous are the offers of dates in many of the leading cities, that Mr. Wolfsohn has decided to extend the American tour to June 1. Mr. Wolfsohn says that he has never managed an artist who so completely wins his audiences as De Pachmann captures them. Whenever he has played a return engagement he has been greeted by a much larger audience than the one he first faced.
15De Pachmann will play in the Metropolitan Opera House next Sunday night, and again December 10 in the same place.
17The following newspaper notices taken at random from a huge mass of equally complimentary ones will serve to show in a measure how successful has been De Pachmann this season:
19De Pachmann is a pianist unlike any other with whom Chicagoans are familiar. He is perhaps the most perfect representative of finished, refined piano playing that has been heard in this country. He never exaggerates, and superficiality is not necessary to one whose resource, artistically and technically, is so unbounded. The perfect legato and the superlative singing tone which he possesses round out an equipment which makes De Pachmann one of the greatest pianists of the present day.
21And it was in the Weber number that De Pachmann won his triumph last evening; for delicacy of shading and poetic feeling it was a revelation of the highest art.
23The audience, which was largely of a "professional" nature, consisting, as it did, mainly of teachers who were sitting at the feet of a master to learn, accorded the promptest and most cordial recognition of the superb pianism displayed. It was a tonal poem of rich coloring, read with the appreciative instinct of a great artist. It was notable that De Pachmann received the heartiest approbation for his reading of Weber and Mendelssohn; two of Schumann's eccentricities were admirably rendered. The familiar Rondo Capriccioso of Mendelssohn was executed with that precision and finish that have placed De Pachmann in the lead of pianists of the day. That De Pachmann has authority in Chopin is known of all; that he has lost none of his command as a Chopin player was determined by his work last evening.—Chicago Evening Post.
25De Pachmann's recital. With very firm and certain hands Vladimir de Pachmann last night drew from the piano more of its soul than any great virtuoso who has recently visited us. The deliberateness of De Pachmann's manner, the perfection of his touch, delicate yet firm, the absence of those theatrical attitudes and of that wild clawing at the keys and flourishing of hands to which some even of the great pianists will resort, made his art seem all the more wonderful. Beginning with the Weber Sonata, which he played beautifully, De Pachmann was upon intimate terms with the hearts of his audience at once. Gradually, with the deliciously rendered music of Schumann, the variety and power of the pianist were developed until the supremely fine interpretation of the Rondo Capriccioso simply carried the audience by storm. An encore was demanded and in part given, but the applause went on, so the artist gave a Berceuse by Chopin, which was a generous reward indeed. It is certain that Chopin has never been more sympathetically translated than by the magic fingers of this great artist. It is not too much to say that his playing of the Chopin numbers, with which the recital closed, was magnificent.—The Chicago Chronicle.
27His revelation of the beauty that belongs to the higher walks of piano playing is unlike that of any other performer now to be heard. His illumination of the music that comes under the witchery of his fingers is full of lights and shadows of his own, and in the field that he has appropriated to himself he is an absolute master. * * * It was exquisite in quality of tone and in the subtlety and variety of color that he got within the narrow range of dynamic power that he uses; in the delicacy and distinctness of his half lights and shadows, in the unfailing clearness and articulation of every middle voice and the nice adjustment of parts. His pearling runs and fluent arpeggios are as captivating as ever.—New York Tribune.
29He still has the most wonderful finger technic and a velvety delicacy of touch which caresses the keys into giving out from the wires the most luscious and gentle of tones. As a colorist M. de Pachmann has a distinct field of his own, and his tonal palette is rich with a variety of tints which gives his performances endless fascination. His nuancing in mezzo playing is in itself something so delicious that no music lovers can ever tire of it.—New York Times.
31He is still, among all the great virtuosi of the keyboard, the one possessing the softest, the smoothest and the most delicate touch. The tips of his fingers have not lost their casing of velvet. His tone is still a musical whisper, distinct but hushed. His technical facility is, as of yore, marvellous in its perfection of daintiness. His runs are strings of pearls; his staccato notes are glistening drops of crystal water.—New York World.
33Last night he played with the same loving tenderness, the same fitful yet intelligent emotionality, the same power of revealing the exquisite rhythmic and melodic contours of Chopin's music that have made him notable among interpreters of the wonderful Pole. One lost sight of Mr. de Pachmann's wonderful technic in admiration of the wholly fitting use to which it was put.—New York Mail and Express.
35De Pachmann's art is dainty. It continually reminds one of old fine lace, of the softest of silken velvets that are so soothing to the touch and so restful to the eye.
37He has in his fingers a certain magic which can bring from the instrument tones of alluring softness, which are covered with a veiled quality that in the human voice has been called hidden tears. * * * His technic is still a wonderful example of digital dexterity; his runs and arpeggios are marvels of smoothness and softness, and his whole playing is a source of unending sensuous delight.—New York Commercial Advertiser.
39De Pachmann. Reappearance in Boston of this master of color, rhythm and exquisite poetry. Vladimir de Pachmann gave a piano recital in Steinert Hall yesterday afternoon. The hall was crowded with a most enthusiastic audience.
41Since Mr. De Pachmann first appeared here in April, 1890, many pianists have visited us; formidable pianists, athletic pianists, intellectual pianists, hypnotic pianists, scientific pianists, philosophical and psychological pianists. Many of them did surprising things; many of them thundered and lightened and appalled and terrified; some of them perplexed, and nearly all of them performed incredible feats on a singular machine known as a concert grand in a death struggle with a full sized orchestra.
43Mr. De Pachmann plays the piano. Under his sensitive, magic fingers the much abused, grossly misunderstood instrument becomes a responsive being of poetic sympathies.
45For he knows the limitations of the piano. He does not attempt the impossible, marvelous as his technic is. He is content with the piano, and with the limitations of it; he does not try to turn it into something grander; he preserves and glorifies the very characteristics which to many are as a stumbling block.—Philip Hale, Boston Journal.
47De Pachmann returns to us while memories of those who came after him are still green and lush, and a rehearing of him gives rise to a very strong conviction that he is the one genuine artist, the one really great pianist of them all. * * * The brilliancy, the clearness and the grace and fluency of his technic; the purity, evenness and limpid smoothness of his scale playing and the warm singing quality he brings from the piano are indescribable; and whereas before his style seemed weighted down by affectations, on this occasion there was not a trace of them. * * * A great, a very great artist, indisputably.—Boston Herald.
49From first to last the artist deserves the very highest praise, praise unmarred by even a single word of censure. He is the most satisfying of all the great pianists, both on the side of technic and of interpretative skill. In the first place he is to be honored in that he uses technic as a means and not as the end; his wonderful finger work is never thrust into prominence; it is almost forgotten in the beauty and perfection of the work produced.—Boston Gazette.
51De Pachmann recital. There are some things in the realm of art so beautiful, so ideally perfect, that all thought of technical obstacles and of the mechanical difficulties involved in their accomplishment vanish before the charm of their finished beauty. To this class belongs the piano playing of Vladimir de Pachmann, who delighted a large audience at Central Music Hall last evening. The reappearance of the great Russian pianist was the signal for the coming together of those musicians and music lovers who were wont to frequent his earlier recitals and come under the spell of his inimitable art.
53The playing has lost none of its charm. It is the same wonderful, satisfying playing as of old. The sonorous tone, resonant even in the softest pianissimo; the expressive phrasing, the eloquent inner voice leadings, the faultless technic, and the rich but delicate musical perception—all are still there, uniting to make the performance genuinely enjoyable from every standpoint.—The Chicago Tribune.
55After an absence of several years Vladimir de Pachmann made his reappearance before a Chicago audience last night in Central Music Hall, and achieved a genuine triumph. There were no cases of violent hysteria among the audience, but the tribute which was paid to this artist could not have been surpassed in sincerity. De Pachmann has long been known as one of the greatest, if not the greatest, of Chopin interpreters, and he fully justified his reputation in the group comprising the third number on last night's program.—The Chicago Times-Herald.
57Myer Lesson-Talks.
59Edmund J. Myer reports an unusually busy season. At the solicitation of a number of his pupils, as well as others, he will give a series of evening lectures or talks in connection with a normal class for teachers and singers; something on his Chautauqua plan.
61At these talks or class lessons he will explain and illustrate the principles of his system of teaching and study. Especially with regard to flexible movements, as opposed to rigidity; vitalized energy, as opposed to effort; tone reinforcement, tone color and tone character; emotional power and the important question of automatic breathing and automatic breath control. These illustrated lessons will no doubt be of advantage to many of Mr. Myer's pupils, who are now teaching in and around New York.
63Earl Gulick in Troy.
65The boy soprano made a great success on his first appearance in Troy, as the following from the Troy Morning Record will show:
67"The concert of the Cecilian Choral Society, Prof. Will E. Rogers director, last evening drew a crowd that filled Music Hall. The principal feature was the appearance of Earl Gulick, the boy soprano, from New York. The boy justifies all claims made in his behalf. He has a range that is phenomenal, striking D above high C with ease and sustaining it, and the little fellow, who is but eleven years old, handles his voice with the cleverness of a veteran in the ranks. Best of all, he is only a boy, just like any other nice looking little boy of his age, and the informal reception after the concert, when all the ladies wanted to shake hands with the dear child, did not seem to turn his head a bit."
69Barber at Waterbury, Conn.
71The Waterbury Republican of November 15 speaks in high praise of the success of pianist William H. Barber at his recital.
73MME. FLORENZA . . .
74D'ARONA,
7520 Rue Clement Flarot, one of two readings
7620 Rue Clement Marot, one of two readings
77PARIS.
78Voices placed and developed tone by tone.
79Repertoire—Analysis and Interpretation.
80Stage Practice. Engagements secured.
81Special Teacher's Course with diploma.
82Reduced steamer rates for American pupils.
83Reasonable Board Secured.
84Home comforts and protection.
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