The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1902-02-25


the runs and arpeggios in this number
were intensely fascinating. His pedal
movements are remarkable. He uses
them as IL they were another bank of
keys, producing the sweetest vibration,
the most bewilderlng carrying tones,
which are thus varied in every degree
of shading.
Through all this great Sonata the
melodic property was exquisitely sus-
tained.
The allegretto movement, so scherzo-
like in its brilliance, was charged with
dramatic fire under his touch.
The Mendelssohn numbers were rich
with sentiment The simple FOLKLORE
songs swelled out in unimaglned loveli-
ness through his Interpretation. The
Hunting Song" with it's swift bravura,
caused n distinct sensation. No con-
trast could be more gracefully marked
than the Spinning Song, with its low
undercufrent Of sorrow for something
missed out of the homelv life.
A singular accompaniment to Pader-
ewski's playing is one little, almost un-
observable movement he has--no artist
is so free from lnannerisms as this man
but when he glides into the soft
leans his head in u gentle, sad emphu-
sis of the thought expressed by his art
and repeated in his own heart. 1t would
be difficult to describe anything more
affecting to sympathetic listeners than
this unconscious abandonment to the
grief of the movement, and it is so
utterly free from attempts at spectacu-
lar effect.
The Schumann "Carnaval" was one
of the great numbers. Under his touch,
the swift succeeding pictures in the
procession of gaiety melted into the
daintiest miniatures, ivory-clean, but
idealized, softened.
They included Pierrot and Arleuuin,
Vaisc Noble, Eusebius, Replique, Papil-
Ions. Lettres Dansantes, Chiarina,
Chopin, Estralla, Poutalon ct Column
bine, the lovely Valse Allemande, Pa
gannini, Aven, the Promenade, never
so exquisitely given, and the bold,
dashing March des Davidsbundlers
contre les J'hilistines."
Perhaps, most OF all, were antici-
pated the Chopin numbers Possibly,
some of them We're too familiar In
their defenseless condition against the
amateur, but no one would ever recog-
nlze them as, glorified and set with a
halo. they came forth last night.
Paderewski is undoubtedly the great
est Chopin interpreter of his time.
Much is said of DE Pachmann, but De
fachmann is a madman, inspired per-
taps. but still a madman. PadereWski
has the Polish fire in his own VEINS
the passionate, tender soul, that can
truly comprehend Chopin. So he gives
US the wild dreams of the oppressed,
the sadness, the brief gladness, the
ever-aspiring hope, and yet withal, the
sombre touches that the weird, exquis-
lite compositions need.
The softly graceful Etude, the rip
ping, wonderful Valse op. AZ, and fl
nally the great Polonaise in A fiat,
completed the group. Notable in this
were the running notes. \so deftly pro-
duced that they We're like the dane
ing leaves, and the color in the climax
building. The left-hand work was
to a degree and gave a faint
idea of what this master of the piano
can do to produce the singularly sweet
music for which he is so famous.
No doubt with many the favorite
Was IdueTeWSkl 8 OWN MOE
turne in B flat, that reverie "breathing
low between the sunset and the moon."
When he gives up public recitals and
really sets himself to the work of COM
position, we may look for nocturnes
such as never have been written, even
by Chopin.
Etude and a Raphsody of Lizst. The
latter, the sixth, will never be forgot
ten by the listeners. The swooning of
senses. the passionate whirl of emo
ton, the great climax We're such as
have not been heard often in later days.
The audience standing, called again
and again for the magician of the night.
He sraciously gave another Rhapsody,
the second
During the progress of the pro-
gramme he was presented with a Tyre
of flowers four feet high. The inscrip-
tion ran "To Poland's greatest repre-
from his countrymen."
Many of these countrymen crowded
about him in the artists room and the
manner in which he greeted them
would have touched the hardest heart |