Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1895-12-10
THE PIANO RECITAL.
PADERf wsKI ARRIVES THIS
studies of the Prominent Features
of the Splendid Programme That
the Celebrated Musician VIII In
trrprct at the Academy.

the Celebrated Musician VIII In
trrprct at the Academy.
Paderewsk will arrive in the city at
$40 o'clock this morning from Washing
ton. and will drive at once to a suite
Of rooms engaged for him at the Jeffer-
son. His practiclng piano preceded him,
and was delivered at the hotel last night.
There does not seem much to say about
him, since everything has been said that
could be said. and the vocabulary has
been exhausted IN praise Of him.
The most interesting features of the pro-
grammo which the great pianist will dis
course tonight are Beethoven's sonata.
op. 81. Chopins "Nocturne." in major,
op. 81, NO. 2, Etudes. T. s. and O. op. 3,
and "Mazurka," by the same composer;
LISTS "Rhaps die" and Paderewskis
own composition.
According 10 Marx and Eiterlein. thu
sonata, op. 50. is tne first in which Beoth-
hoNen breaks away IRON the Mozart
Hayden influence OF his earlier works.
II is the most difficult Of all his sonatas.
though in point u INTEL ctual compre-
hensIon Il is ranked among the easiest.
IL was composed in 1893, and published
about 1896; dedicated TO Count Waldsten.
a warm friend and admiTer Of
Bcethov ms. The pres nj form Is very
diff erent from the original.
rne sonata opens with an organ-like
effect in the deep bass, a jump OF TWO
nd a half Octaves TO the treble and
back again TO the bass-eon1e tumultuOus
runs, leading to a quiet pause com.
quiste canulema contrary 10 all laws
Of harmony with ethereal variations
Some runs first I'm triplets, then sixteenth
notes. a rush Of octaves. a most brilliant
lremelo with trill in the left hand end
he first part Of this movement. Bod
and beautiful mOduatiOns mark the
transition TO the second part. Possibly
the most striking feature OF the entire
sonata is the close Of the movement,
when the theme is given 10 the left hand,
while the right has first syncopatic
movement. then a wild, upward rush
The adagiO. the shortest in any OF his
sonatas. is aphoristic. weird, and mysu-
cal, With the exception OF a short melody
the entire movement seems to be interro-
gatory. 1t makes the rondo much more
effective by contrast. the rOndo being all
hustle and animation, and Is one of the
most brilliant movements Beethoven ever
wrote.
The exquisite nocturne might, with per-
feet propriety. be called a barcarolle,
and those beautiful lines Of Shelley,
MY soul is an enchanted boat.
Which like a sleeping swan doth float
Upon the silver waves Of thy sweet sing
ing
ht this lovely creation perfectly. 1t has
gliding swayng motion throughout at
first in the left hand the right hav-
ing the most ethereal runs i'm thirds |
and sixths; then the movement changes, !
and a song almost a berceuse) begins. !
This works up to a passionate climax,
gradually grows calmer, and the first |
movement enters again. This plan Is
repeated, and It closes with an enlarge
ment Of the first phrase. and a few bars |
of the song form. Technically. 1t Is |
a fine study in chromatic thirds and sixths. |
The modulations are numerous and strik- |
ingly bold and original. This nocturne |
was a great favorite of Rubenstein's. and |
IL is said his tones were unequalled, |
though Paderewskfs Interpretation was
incomparably the better OF the two.
Under the modest title OF "Etude." |
Chopin has written some OF the most !
He was the first TO use this form Of COM /
position for an emotional. as well as a |
technical purpose. The first on the |
programme is for the left hand. II be- !
gins with a recitative; then begins the /
etude proper in three-quarter time which |
is in its simplest sense a conversation /
between the two hands Technically. il /
is not one Of the hardest. though there |
is a steady crescendo from = p = to +
l. no al
mand to get smoothly.
The second is a study in "feroclous'
sixths that has caused many pianist TO
tear his hair in his vain endeavor TO get |
ii up 10 time. 1t is played mezza voce.
nearly. throughout. and ends with an un-
ward sweep Of chromatics that is highly |
effective.
The third is a wrist study. much harder
in a great many respects than the cele-
brated octave study which follows IT, Ii
is the shortest Of all Chopins studies. |
and under Paderewski 1t will be a mere
breath OF delicious melody. With the /
exception of a climax, "appassionata" |
u T it is played piano throughout. and /
those who care to time Mr.. Paderewski /
on this study will find IL takes him lust |
hfty-seven seconds to play it,
List says Of Chopn's mazurkas: THE |
latent and unknown poetry. which was |
only indicated in the original Polish Ma |
zurkas. was derived. developed. and |
brought to light by Chopin. Coquetries.
varieties, fantasies, inclinations. elegies |
vague emotions, passions. conquests,
struggles. upon which the favor or safety |
Of others depend-all meet In this dance"
The musical world has not yet deter
mined whether List is a mere charlatan, |
whose works are specifically good, are
bombastic. or whether he is one of the
great tone poets OF the world. At any
rate, all great pianists play his works.
and the people cry out for them. No man
ever had a greater appreciation of piano
effects than can be seen in any of his COM
positions and IL requires but little pro-
phetic skill to say his 18th Rhapsodie
will create more enthusiasm among the
audience AT large than anything on the
programme. II opens with a mastery
theme Initiative Of trombone). then an
imitation Of a drum-roll, swelling from
whisper TO thunder. a repeat, a short
snatchy melody. the inevitable codenza
ending in a brilliant chord passage nearly
the entire keyboard, and the rhapsodie
proper begins As 10 its form II might
almost be called a pot-pouFr gypsy
dance varied into imitation OF bells, a
short snatch Of barcarolle-like movement
leading to the varied first theme in stu
Dendous tremOlOs. swelling from piano to
Tortissimo a magnificent marche eroica.
hat Is npped I'm the bud an enlarged rep
stition Of the chord cadenza leading TO
lance Of overwhelming rhythm. Then a
;iretta. fiery. intensely brilliant and diff
,ult. a true Lisztian finale. and a coda.
n which Is reviewed all the various
hemes and the Rhapsodie is done.
The Mozart Musicale Last Night.