New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-11-10
MUSIC AND DRAMA.
MR.. PADEREwsKrs FIRST RECITAL


The programme Of pIanoforte compositions pm
ed In The Tribune yesterday morning was p'aye'
performed. expounded interpreted. trans".u
into music by Mr. Paderewski at his first piano.,
recital in Carnegie Hall in the at'eii'O'"
II enthusiastically programme Oh u''
genious stamp which p.ansts have found 10 " IT,
adapted TO the public. and when Mr.. Pade'e"s",
having satisfied his artistic nature -,
Brahms sublime 0he adjective Is not careies'''
used variations theme from an archa'c no.
chord suite by Handel. Beethoven's d minor Soi'"'-
CD 81 No q and Schumann's Sonata n + S
minor op. II, began the set OF Chopin pieces ~.
which 50 many OF his audience were waitihs' "'
knew that though It was milk for babies. IN COM
parlson with what had gone before. ne was -! =,
serving the ends OF good art and relaxing 'he i'"'
and hearts OF those who had followed him throus"
the noble proclamations Thence onward '"'
scheme grew more and more an exhibition OF so'"-
tillant vrtuosity pausing in the development IRON,
three Chopin studies Top 25 Nos. l. and - ana
two OF LISTS transcrptions OF Chopns fo'iSn
songs to the Study in c con false notes az.
Valse Caprice of Rub!nstein to dwell for o'iei
period on the newest of his compositions Leeenue
in A major (No. p. in which there was Il ioFe's
recurrence to the poetical mood that had been el'
behind In the Chopin Nocturne Top. 81. No. u with
which he opened the second part of the recitai-a
recurrence TO the poetcal mood albeit one OIL
vrile and passionate nature. FOR the hoc-
turne. while 1t admirably to disclose the eN-
qusIte sum of tonal beauty which Mr.. Paderewski
has and for which he finds so wonderful Nehicie
in the pianofore that he plays. is after ALL
bit OF sentimentality rather than an example OF
lofty sentiment But that may be overlooked IN
scheme which had 20 much 1t that aspired to the
highest and purest regions OF art. The record Oh
simple incident is completed by saying that the vast
concert-room crowded to the doors. and that
though applause. almost ecstatic. followed eacn
number OF the programme, 1t grew more and more
uncomfortable the end neared, and when inc
"A IN
dizzylng tempo there burst forth the usual CHEERS
and hysterical shouts. which continued I'll Mr Pad-
erewsk quieted the tumult temporarily with the
second Hungarian Rhapsody by List o,, VIII
sicians have told up all that they con-
cslve to be within the province Of the review, f9t
might with justice and Propriety end unless IT be
possible to tell how Paderewsd plays" That Is
difficult TO bring 10 the consciousness OF those who
sodical napdoodle. or relteration OF commonplace
phrases having FOR their burden that Paderewski
is like all the masters that ever lived only greater
or that when he plays transcription Of an orchestral
piece 1t thereby becomes better, oveier, more elo-
quent music than 1t when it came from the in
spired mind OF its creator Neither IS II done by
OF the technical factors which go to make up the
OF pianoforte playing The happy mean must
found when the mind OF the reviewer is neither
unduy excited by the pleasure enjoyed, nor jaded
by wearsomc contemplation OF the MECHANICS. so
soulless but necessary. of the art. Mr.. Pader-
ewski's rectas potent stimulants. We are
not sure but that IL 1t had been evil fortune that
he had lived in Helas say three thousand years
ago. he would have been banished from the state
Greek nature Then It would have been noble
task for a critic to show how strongly also he APP
peals (as yesterday in the variations and the two
sonatas) to the rational part OF those OF his listen
ers who are willing to believe that music never
asks devotee to part with his senses.