The Providence news. (Providence [R.I.]) 1891-1906, 1896-04-02
SENSE FROM PADEREWSKI.
He Thinks There Is Growth In the Musi-
cal Taste oil the Country.

Because Ignace Paderewsl<i was little
tired and was lying down for a moment
when reporter called at the Brunswick,
Boston, Mr.. Gorlitz the players gen.
tlemanly and affable manager, anticipated
him with few remarks likely to be of
interest herea bouts.
The line OF Mr.. Gorlitz's talk was on the
present Paderewski tour of America, the
boston end OF which will be closed next
saturday afternoon. What the great
musical genius himself had to say per-
talned TO certain aspects of his art and
profession that are of considerable timely
vaule 10 all cultured people and, especial
~, to amateur piano players
III seems from what Mr.. Gorlitz said,
that the renowned pianist had just come
southwestern states. Eighty-one. con-
certs have been given in all the principal
cities. And In almost every instance his
reception was of intense enthusiasm, and
his profits OF extremely comforting big
ness.
"ln Texas" the manager was saying
through cigar smoke, "we turned people
away, although the price OF seat was
~. from three towns we were offered.
guarantee of $500 from musical people
TO come again for one week. Frequently
In the South people journeyed 400 miles
10 hear him play. To New Orleans an
entire music school came from the town
OF Marshall, and attended the weeks
performances. At San Francisco we
sold every seat.
next week we go to Canada, playing
once in Toronto and twice in Montreal; |;
then back for single performance i'm
Detroit then to New York. We play in
Brooklyn, at Smith College up at North
ampton, at Philadelphia, at Washington,
and-the farewell recital-in New York
on April 49,"
AT this point Mr.. GorIitz gave way to
the entrance of IgDace Paderewski him
self. Because he is known by name and
look and work to little less than all the
inhabitants OF the country, from the st.
Lawrence to the Rio Grande, there is rea-
son for giving only his opinions.
After saying that he intended to quit
America for Liverpool on April %, and
was doubtful whether he ever returned,
perhaps on account Of the pile of money
he bad picked up here he paid his COM
pliments to Boston.
81 may say, without intention OF compli-
ment, that the musical taste of Boston peo-
pie is as high, in proportion to the city's
size as that of any American or European
city. The Symphony orchestra here is
liner than any orchestra in the world,
excepting, possibly, that of the Conserva-
toire at Paris and Hans Richter's at Wen
ma. Your city pays. as a musical centre,
well as any in America or Europe,
in proportion to It's size; that is, in my
experience.
"The musical taste of this country has
progress think as rapidly as its COM
mercial growth. 1t is a solid, wholesome
growth. / have one way of judging; four
years ago my receipts for one perform
ance in Chicago, for instance, were $1,000
Three years ago they were $500. This year
they were 1884; that is, understand, for
one night only. In st. Louis, three years
ago, for two nights, the receipts were
ran up to s9O6O."
This astounding piling up OF good hard
noney-considering that a solitary man
playing a piano for an hour or less had
been the only attraction worth talking
about--seemed impressive i'm contrast
with the recent go, 600 operatic failure i'm
Boston.
liam surprised, p" said Paderewski. "that
grand opera was so unsatisfactory here
that II isn't coming back next year. |
can explain the failure only by thinking
OF the hard times chiefly, and supposing
that the trend OF opera taste happened to
be in the wrong direction. In one of
two instances you mention the seating
and playing accommodations were poor,
ana many OF bne mOneycu people had seen
the opera i'm New York. But Italian
opera should paw anywhere; il is the
finest. In New York, where such things
do pay, the population is cosmopolitan;
in Boston IL Is smaller and American" ("
Speaking of the current IMPRESSION
hereabouts, that children should not pc
gin piano lessons until they are l3 or IA
years olo, he remarked:
"1he child cannot begin too soon. il
he or she has talent ana aptitude. But
there should be no forcing. Until child
rem are, say, II, they should not be driven
to music, because, as general rule, they
do not comprehend their work.
"Becsuse many children are allowed to
play by ear, you have many musical fail.
ures. Scientific methods only should be
used. Technique is essential. The talent
OF the young player must be ridled. Its
very nice to have him play over at home
bv ear some orchestra strain he has
heard, but il isn't at all right to allow
him TO cultivate such habit. II will
stint his talent.
at is only with a solid foundation that
genius can be expected to develop all its
] worked hard at study un-
til was "a; then only did come before
the public.
"fhe American schools Of music are
high standard. Their pupils come TO Eu-
rope and prove the excellence OF their
training. But no school can manufac-
ture geniuses TO ORDER