The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1896-01-05
MUSICAL VIRTUOSOS
PADEREwsKI SATURDAY AND DAM
ROsCH THE FOLLOWING WEEK.
Wonderful Eject on an Audience by
the Pfanist's Recitals-The Wag-
merriam Season.

| played come strange reports or infatuated
| mesmerized audiences, the strangest, per-
| haps. yet written about any star who has
| appeared before the public in the present
generation Women seem to be the most
susceptible, and the effect on Pederewskis
female admirers can be gathered from the
| following, taken from three-colunn article
| in the New York World:
"Paderewski is at the piano. He arranges
the tails OF his coat, moves his chair back
ward and forward in getting the distance,
and tries his instrument. Not a movement
mas been lost. thousands OF eyes have
watched every commonplace movement
through opera glasses with an intensity OF
interest painful to observe. He is the idol;
they the idolators. Paderewski worship Is
about to begin. And Paderewski, this
and throes, who fires the subtlest currents
OF their natures, who causes them to turn
towards him as the sunfiower to the sun
wherein lies the secret of his power? Slight,
fragile as men go, face intellectual, eyes
thoughtful. mouth sensitive, Ia appearance
Paderewski is no way remarkable save Tor
his hair. Nothing about him suggests an
overpowerfng nervous or physical force. TO
the eye there is nothing to Paderewski to
make the pulse beat quicker; yet the thou,
sands of women who had sat in the spell
or his presence on previous occasions gazed
on him as ne entered and visibly sighed.
From former occasions there evidently
flows a hypnotic or mesmeric influence.
After the first number IL seemed myS-
FERROUS current flowed from stage to house,
from house to stage, as If an invisible force
had united Paderewski and his feminine
adorers; and as the programme proceeded
this bond became stronger and continually
grew in strength until the very end. In
Padere1rski worship the emotions rise stage
by stage with each musical number.
Nothing was more strongly in evidence
than the changed facial expression or the
adoring women. Some paled, then nusned;
others betrayed emotions by quick nervous
twitchngs of the mouth. while others still
showed only in the heightened sparkle or
the eyes the feelings which moved them
AS a rule the expression was that which
accompanies intense mental and physical
activity and when the controlling influence
subsidized II left them pallid and often nag
gard. There is the revelry of emotions.
Crescendo! Limpness, placidness. exnaus-
tionl
most decorous women seem to abandon
themselves to the influence and startle the
less affected by strange and rapturous ex-
feel no restraining influence. exclaiming the
thought most upon their minds Paderew-
ski worship is a delirium. and the worship
ers speak as though in delirium.
Esmonde Grattan, writing from Paris,
says: ut is to me proud satisfaction that
the privilege was accorded me to first pub
lish to the world the details of the home OF
the great artist. 1t is not matter or Idle
boasting, but Of heartfelt gratitude, that
was permitted TO know and to make known
The room in which he works is somber and
picturesque. Paintings line the walls, and
crimson hangings shade the windows. The
air is laden with the perfume of flowers,
the gifts of those known and unknown who
during his stay in Paris surround him daily
with these silent tributes to his genius. The
first thing that strikes the eye on entering
is portrait of the great musician by a
nj RI
on a velvet plaque, is the beau
ed to Paderewsh by the Boston
Symphony Orchestra. A picture of Chopin
on his deathbed, and landscape or great
value, adorn the wall on the left. while
standing loftily in luminous golden atmos-
phere--a dreamy, artistic atmosphere-is
marble bust of Chopin crowned with
to Paderewski in Paris. was not allowed
TO linger very long, so l passed 10 the Ia
bles where rare and valuable. gifts from
admiring friends were scattered; miniature
pianos, musical instruments, and endless
pocket souvenirs. painting OF
Paderewski by Alma-Tadema-a magnih-
cent work-hung opposite, and from ii l
turned to the sketch of the greatest of liv-
ing pianists by Burne-Jones, which is so
well known. The piano. a Steinway
grand was reelected in the polished floor,
which a priceless rug only half concealed.
Pictures of his favorite composers, Bach,
Beethoven, Chopin. Schumann, ETC., and
numerous. Draping the door in the hallway
are the Polish and American flags presented
to Paderewsh at the close Of his first sea-
at the Metropolitan Opera House. New
York.. on the occasion of his concert for the
WASHINGTON " hisS Park. An entire wall is occu-
pied by the superb laurel wreath presented
at I.eipsic. There is all the elegance which
modern luxury can provide. Artist as he is,
and because he is great artist. the man Of
culture shines through his inner life and
surroundings. There Is a statelineSs and
charm-a something so artistic-in his
home that, once seen, it cannot be forgot
ten.
at English's Opera House next Saturday
night will give the wonderful pianist all
possible scope for the display OF his remark
able talent 1t Is made up OF compositions
by Beethoven. Mendelssohn, Chopin, List
and Paderewski, and is as follows:
Sonate-Op 50. Allegro con brio. In
troduzione. Adagio motto. Rondo.
Allegretto moderate. Prestissimo..
Two Songs Without Words-do OPP.
g.. No. l. CO. Spinning Song.
8. Preambuie. Pierrot.
Harlequin. Valse noble. Eusebius.
Florestan. Coquette. Replioue. Pap
lions. Letters dansantes. Chiarina-
Chopin. Estrella. Reconna 'ssance.
lemande. Paginini- Aveu Pause.
Marches des Davidsbundler contre
les Philistins.. ................ Schumann
Nos T5rns f;ud maie%T oP So 10. q
Mazurka-B fat minor. OPP. a, No.
4. A fat Prelude No. It. Op. 2S A
fiat. valse-A fat major, Op. "a.
NO. ........'.'........''... .Cnopin
R RedGaaeoP aonsroise No paaereTsk