The times. [volume] (Richmond, Va.) 1890-1903, 1895-12-11
pADEREWSKI CONQUEST.
COMMANDS TINE SUBMISSION or n
BRILLiANT A UDfEyCE.
His Recital 1T the Academy Last Night One
Of the Grxndest, From an Artistic stand
point Ever Heard in This City.

Long OF snort mar, fduefe"sAi 10 sam
the idol of the hour.
Richmond has heard the great Polish
pianist. and, unsteady speaking, Rich
mond is his II he wants 1t. One OF the
most brilliant audiences that has ever
been gathered together in the history OF
this city greeted Pade-evsh upon his
annearance at the Academy last night.
The elite. culture. and refinement were
nresent. and the tout ensemble mace
up a whole that in point or oriiiiahcy
has never been equalled BY any hicnmono
audience.
Every one was there; some from love
OF the divine art. and others from cur'.
oxity. They went. saw, heard, ana
were snslaved by such chords OF meio-
DIV as they never dreamed could be evoked
nv human mower. Through two hours
Of such enthrament as they had never
before experienced. the audience sat ana
absorbed those exponents OF the musical
art that dvinely-gifted genius. aided py
the highest mechanical power, wrought
for them.
II mattered not whether those waves
OF melody fell on cultivated or unculti-
waited ears, the effect was visibly the
same. What higher tribute can fadef-
ewski ask TO be paid him? Most Bttlngly,
then, may | quote those lines from Cow
per: -.
There is in souls a sympathy with
sounds,
And as the mind is pitched. the ear is
pleased.
with melting airs. or martial. brisk, or
grave,
Some chord in unison with what we hear
Is touched within US, and the heart re-
plies"
So 1t was last night, and not heart
was there in the vast audience that did
not respond to the magic and divinely-
gifted strains.
THE GREAT MUSICIAN.
Pianists OF prodigious technique have
multiplied during the last two decades.
until only one in perhaps thousand
ever commands more than passing
wonderment ut their digital dexteSty, as
in IL all there is a total absence OF cx-
preston or power 10 touch the heart.
but once in while one of these virtuosos
possesses that magnetism which fires
every one with it's soulfulness I'm every
piece they interpret, and such one I'm
most eminent degree is Paderewski.
throughout the almost limitlsss range
OF his repertoire, he infuses into HIS rem
dition of the piece In hand all his own
marvellous personality. which becomes
so interviewer and commingled with his
mastery conception of tne work he Is
interpreting that he becomes completely
Identified with the composition, and i'm
parts 10 it not only the authors con-
ception. but his own rare inspiration as
well. What grasp, What execution,
To my mind. while Paderewski gave TO
Beethoven, Mendelssohn. and Schumann's
works the most finished Interpretation.
he seemed to be- more completely identi-
fed with the genius and spirit of his
immortal countryman, Chopin, whom he
closely resembles. as IS exemplihed i'm his
own compositions. In point of pathos.
refinement, and subtle magnetism, ] con-
slider that Paderewski holds the same re-
lation TO music that Edgar Allan Poe
does to poetry. Roth are incompatible
geniuses. both are creators. and both are
realizers.
HIS AFFABLE MANNERS.
II will interest those who have never
met PaderewslSi and had any personal as
ISOLATION with him TO know that he is
perfectly unaffected and as approachable
as a child lie wins the heart OF every
one he meets by his affable manner, and
TO any fellew-musician, he is as genial
and cordial as possible and Is at all
times exactly what he looks-a perfect
gentleman.
Paderewski's great genius is not nearly
developed yet This fact l draw from
his present compositions. which already
bespeak the wealth OF works that he
will give 10 the world. and they will be
works second only. perhaps, TO that great
est Of Poles, Chopin.
THE PROGRAMME.
The following was the programme, as
rendered last night:
Senate. Or. 80 (Bee'hoven)-Alle con
brio. Introduzioue. Adagio motto. Rondo.
Aliegretto moderate. Prestissimo.
Two Songs Without Words (Mendels-
sohn)--i. OPP. 50. No. /, g Spinning Song.
Carnival Op. (Schumann)-Pream-
bule. Pierrot. Harlequin. Valse noble.
Eusebius Florestan. Coouette. Replique.
Chopin. Estrella. Reconnaissance. Pan
talon ct Colombine. Valse Allemande
Paganini. Aveu. Pause. Marche des
Davidsbundier contre les Philistins.
Chopin-Nocturne, @ major. Op. 81. No.
@ Three Etudes, Nos. Z, s, .. Op. %:
Mazurka. b fat minor. Op. q, No. 4;
Prelude No. II, Op. Is. A fiat; Valse. A
fat major, Op. "a, No. /.
Melodie, Op. 16 PaderewskD.
Rhapsodie Hongroise, No IL Qiszp.
BEETHOVEN'S SONATA.
The piece de resistance was Beet
hoyen's Sonata, Op. 6s. The "Andante
Favori in F"' constituted the second part
of this sonata but Beethoven found that
this would render the sonata too long, so
he wisely substituted the adagio for the
andante, and 1t now serves a. an intro
duction 10 the final rondo. This work
f. an example OF technical brilliancy and
gives great scope for a 'bravura" play
err. In IL Paderewski was, | think, heard
at his best and despite the heavy char
acter OF the work. ne so infused his in
dividuality into II that even the most
ear could not help approaching
its intrinsic beauty and soul.
CHOPIN'S NOCTURNE.
I want especially 10 allude 20 chopin's
Mcclure. q major, Op. 81. No. ?. which
for beauty Of expression, 10 my mind,
excelled all the other numbers
None OF Chopin's nocturnes can show
clearer right TO the name than this one
I'm G major. one OF the most beautiful
and most popular Of his works in this
form None translates more directly
and entirely the mcclure mood, with all
that it connotes OF dreamingy languor
and sweet tenderness, akin to sadness.