The Saint Paul globe., 1905-03-14
At St. Paul Theaters
De Pachmann at the Peoples Church

4
iully disappointed. In the five or six
seasons that have elapsed since he
| last visited st. Paul the player has
taught himself emotional restraint or
else he was not in the mood to give
visCal and audible expression to the
! emotions aroused by his music last
night He tripped across the concert
| platform in the Peoples church with a
| serious, almost a business like air.
| Only occasionally he glanced at his au-
dience.a notable departure, for the last
time he played in StPaul he took it COM
pletely into his confidence. And as
there were no muttered condolences. so
| also there were no grimaces, no low
grooming over the keys. A De Pach
\ mann almost without mannerisms, who
| played his programme as though
anxious to be done with it-that was
the surprise that greeted the audience
that assembled TO hear him, and DOS
sibly to see him, in the Peoples church
last night And perhaps the we'll worn
| comparison, Hamlet with Hamlet left
out, occurred to some of those auditors
Perhaps that was why the enthusiasm
! like De Pachmann's emotions, was re-
| strained Perhaps the sad reserve of
the player chilled those who came to
see him. and to hear him. Certainly
there was no pronounced demonstra-
ton, no eXtravagant applause.
After Tainly striving to encore the
| opening number, the Mozart Turkish
march sonata, which ambitious music
students have made so familiar. some
tning like apathy settled down upon
the audience Only four or five times
was 1t aroused from this.
but in spite Of the fact that he was
not IN an interpretative mood and that
| the programme itself was far from sat
| isIactory, the recital was not barren of
interest IN De Pachmann paints pictures
IN ntte' paints them in such exquisite
iy elusive tones that they possess the
ethereal loveliness of dream pict1res
Ihe Schnmann bit, Bird as Prophet" :"
tne Mendelssohn song without words
/ the Liszt arrangement of Schubert's
song Hark, Hark. the Lark" were
such pictures. The musician has the
caressing touch. 1t is as though his slim
nnsers Wooed IN the most lover-like
way sound from the piano.
The recital would have been worth
Whlle last night had De Pachnann
| played only the Chopin berceuse, and
the r minor nocturne. Such tenderness
as was intended to be the spirit of all
cradle songs the composer breathed
| INTO TINS beautiful one in d fat, and
,ine Ine pig audience forgot its apathy and
nstened with breathless attention
while the piano crooned it. With a
sInliiar understanding and appreciation
| Oh lts surprising beauty the nocturne
1 was interpreted. The study in fat
the two preludes Cop 2S, Nos. 2S-2D. a
Inazurka and a scherzo. completed the
onopln group. 1t is a trite thing to
say that nobody interprets the Polish
composer as well as De Pachmann. but
SO absolutely does he satisfy when he
pIays the music composed by the friend
VI george Sand, one is tempted to re-
peat the trite remark because II ex
| presses all. The audience, reused from
its apathy. tried to persuade the pian-
! ISL TO add another number to his nro-
gramme. but he returned merely to
DOW sadly and tripped away without
even glancing at the piano.
| Inc recital was the last in the Y. M.
| Z. A. series.
M1ldren Holland. in "The Triumnb of
an empress, played to another large
ana appreciative audience last night at
the Metropolitan opera house AS
Catherlne the Great, the impulsive
courageous empress of Russia Misc
doIiand is adequate. The costumes are
rIcn- every yard of the silks, satins.
EeiVets, laces and furs used in the cos
TUNES was imported from Russia after
peIns personally selected by Miss HoI-
iand, as were the swords, the buckles
ehe insignia, the crowp Jewels and 9TH
CT accoutermentS necessary To ado
| quateiy display the gorgeousness of
the court OF Catherine the Great.
In the whole history of the stage
there can be found but one pIay or
| opera for which appaluse is welcome
Applause is looked on as meat and
urink 10 actors and singers. and the
Iallure to receive it is regarded by them
! as a sign of defeat. But in ''ParsifaI'
applause at the fall of the curtain Is
not only undesirable but in RavreI,tb
ahSOlIfPlV
peen adopted by Mr.. Savage for his
production of "ParsifaP in English
Whlch comes to the Metropolitan opera
mouse the latter half of next week. be-
ginning Thursday evening, with mat
inee on Saturday. The reason for this
is easily found in the music drama
ltselI Parsifar' is not an opera i'm
| the ordinary sense of the word. II Is
something greater. higher and better
Tor while IL has dramatic action and
all the decorations and paraphernaIia
OF the stage, to say nothing of much
| Oh the most beautiful music that was
ever written, it goes beyond these eIe-
inents- 1t Is the preachment of great
moral lesson, and while at times the
beauty of the magic garden scene in
| the second act, with it's Turing. seduc-
| i've damselS and its fascinating music
moves an audience to bursts of an
proVal, one never hears applause after
the first and third acts
Seldom has a musical comedy an
peafed in this city which promises
more pretty girls in its chorus than
the Isle of Spice" which B. c. Whit
ney offers at the Metropolitan opera
house next Sunday night, March 19.
The isle of Spice" is said to be an in
trlcate and blithesome conceit with
DOCK important enough to contribute to
the gayety of nations. and with lyrics
| which serve as useful pegs on which
to hang the tuneful score of Ben II.
Jerome and Paul SCHNEIDER Much is
claimed for the business of the scenes.
produced under the direction of Gus
SohllSe.
Buster Brown" on the stage is de-
lighting the mammas and their mis-
chieVous children who flock to the
Grand TO see innocent childhood vim
dicated- Buster is ably seconded by his
canine companion, Tige, whose apprc-
citation of the jokes they play on their
elders is amply expressed with a Wig
orous wagging of his tail and an occa-
sioDal bark.
AT the Star the show is full of clever
vaudeville turns, and the burlesaue
afterpiece is funny and well done by a
large chorus.