Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1890-05-10
De PACHMAN,s TRIUMPH.
Achievement-An Object Lesson In In.
terpretafion-A Revelation to the Audi

| His Chopin Recital a Wonderful Musica
| Achievement-An Object Lesson In In.
| terpretation-A Revelation to the Audi.
| encr.
yJ1Ap1M1R DE PAoHMAN achieved genuine
triumph in his Chopin recital at Old City
Hail last evening. 1t is, indeed, a most extra.
| ordinary phenomena for a single player using
exclusively the works of single composer, to
enchain and enthuse during an entire evening
all the musicians, amateurs and no1descripts
forming much mixed audience of nearly
1000 persons
Inc strlking personality of the player had
much TO do. no doubt, in maintaining the in
terest OF the less musical auditors. Mr.. de
faenman's playing is constantly illumined by
MS mobile countenahce bodily movements,
postures and gestures; occasionally even by
murmured words of satisfaction or delight.
Gail 1t an object Iesson-programme music
meiodrama-what you Will; the effect
is certainly novel. striking ana by
reason of the marvellous genuineness and
ndtoete OF the man, not at all unpleasing.
Indeed. to see the player so unaffectedly de-
lighted with the composers idea and with his
own Interpretation thereof serves to enlist the
listeners sympathy and appreciation for both.
1t is not good example to follow, however;
such things come naturally or not at all.
Sonata, Opus 35
Ballade, Opus 49,
Two Etudes. Opus Is. Nos 2 and ].
Nocturne, opus g, No !;
valse. Opus 42.
Fantaisie Impromptu Opus 6s
.-.,...., .,-., Mazourka, Opus 80.
Mazourka, Opus Al.
Berceuse, Opus 81.
Tarantelle, Opus 43.
This was the programme as printed It was
faithfully observed, except that the G Minor
Ballade. Op. %, was substituted for the one in
\, OPP. 38 The valse chosen from the set num-
bered Op "a was moreover, the very familiar
one in D fiat, instead of that in sharp given
on the thematic programme distributed in ad
vance.
A T once in the brilliant, massive opening
allegro of the sonata, it became apparent
that In listening to Mr.. de Pachman one could
feel entirely free of any apprehensions as to
his technical equipment. There was master
ly ease and certainty of execution that almost
robbed the auditor of an accus toned exh1lara-
tion in certain passages where, with most play
ers, It Is nip and tuck" to get through;
most intricate design at all mudded or unclear;
more frequent were the episodes wherein an
DER facile technique occasioned too rapid or
was in all respects fully adequate to the ex-
preston of aught that Chopin, most pianistlc
OF composers, had to say. Greater praise could
not be.
PRAIsEwoRTHY and delightful beyond all
else, however, was the rare intelligence and
sympathy with which all Mr.. de Pachman's
were filled. So spontaneous
and natural were all his effects that the i'm
preston produced often had the quality Pc
culiar to Improvisation. A certain lack of
breadth in some portions of the funeral march
and an absence of the plaintiye char
acter associated with the trio of
the same movement are about
all of the deficiencies in interpretation worth
noting. The delicious dreaminess of the
favorite nocturne; the rich romanticism of the
scherzo; the exquisite grace and delicacy of the
etude op. 25 the valses, the fantaisIe impromptu
and the berceuse; and, above all. the bizarre,
semi-barbaric swing of the mazourkas-all were
admirably realized in sentiment as in technical
execution.
CUcH a revelation OF the inner mysteries of
the little understood poet Of the Keyboard is
rare in the extreme; it seems indeed, to be pos
iible only through an interpreter in whom the
lame subtle current of Sclavonlc blood GIBBS
ind flows. Z. w. :.