New-York tribune., 1907-10-20
IGN1CE P4DEREWSKI.
PianiSt's SeUenh Visit to America
Promises UrH.

Tgnace Paderewsld is reported to have sailed
from Cherbourg last Friday the steamship
Kaiserin AugUste, Victoria, and consequently may
be expected TO arrive here next Saturday morn
ing There seems 10 be no reason for questioning
his managers statement thar this his seventh
visit 20 America promises to be tho most success
ful from a financial point OF view Of any that he
has Yet undertaken. Eighty concerts have been
booked for him. and the total number that me will
give to depend largely upon himself Nalonc
His season Will last surely until May l. and though
he has made il q rule to play only three times a
week he Will increase this number TO five at least
once when he accompanies the Boston symphony
Orchestra on its December visit 10 New York
Brooklyn, Philadelphia. Baltimore and Washing
The first half Of the season VIII ho spent
east of the Mississippi River. but thereafter his
itinerary will take him TO the Pacific Coast. The
additions 10 his old repertory which were an
nounced in this paper last Sunday have since then
been increased by Becthoven's sonata IN l. Hat
op. 27. No. ! This work like its companion
piece, the socalled Moonlight sonata. is 6ls it's
composer said qunsi fantasia. Its inclusion In
Mr.. Paderewskls list Is calculated to pique curlos-
ity, since It is not seen in yirtuoso's scheme
once in decade.
The writer's recollection OF quarter OF cen
tury of performances brings up only two perform
arces Of il by pianist OF great celebrity. and
one Of those unannOunced and wholly uuex-
pected. At one Of DR.. Buows recitals in
this country his first visit, thirty years ago he
had set down the sonata In G sharp minor the
number. But before beginning his programme he
fell to preluding. and before ne finished he had
played besides his furtive and fugacous fancies
the cadenza from the T. fiat concerto Of Beethoven
and this sonata. More than a dozen years after
ward the same great musician (who in his play
ing set an example that was never so much
needed as 1t IL now played the sonata at one of
his Beethoven recitals in the Broadway Theatre
1t would be interesting TO know what It was that
turned Paderewskis attention the work which
foregoes all the attributes beloved of those ,,r-
tuosi who seek TO amaze by their display OF tech
nical skill but which has most endearing charm
for those who live in intimate association with
pure music.
OF the other works which the public are to hear
from Paderewski for the first time the greatest
popular interest Will be found In his own Sonata
and his Variations and Fugue on an original theme
The latter composition played by Mr.. stojow-
ski at one OF his recltals In Mendclssohn Hall last
spring; the former has not yet been heard in pub
lie except from Mr.. Paderewski in a few Of his
recent concerts in England. 1t has been In print
moreover. for only a few months. and from study
of the printed pages a few observations may he
made here. 1t will please lovers of music qua
music TO know that tho work discloses that
Mr.. Paderewsk has held his footing in the midst
OF the modern swirl, and in the Sonata pays his
tribute 10 the grace and efficacy of those prin-
ciples OF beauty which were looked upon as valid
and valuable when inspiration and reflection went
hand in hand In the creation of musical works
The Sonata shows a blending of the composers
respect for solidity and symmetry of structure,
well as his prediction for romantic expression
and the splendid gamut Of effects of which the
pianoforte is capable. Balance of parts is main
tanned with the greatest care and logical develop
ment of thematlc material consistently pursued.
The themes clearly and plasticaly set forth
and many OF the approved prescriptions in respect
Of transitions and repetition obedientIy followed
The spirit of the modern pianoforte virtuoso per-
vades It, but brllliancy of utterance is placed in
the service OF musical thought. Reverence for the
sulct style is proclaimed in the last movement
which is largely devoted fugaI treatment of
theme derived from the fundamental melody of the
hrst movement. but no more eloquentIy than love
for romantic freedom is published In the first and
second movements. the latter of which is n peci,I-
iarly tender and moving piece in the romance st,Ie
NO doubt there will be wondering at the
Key which prevails IN the sonata-that of E-aat
MINOR which is also the key of the Variations and
Fugue It is not q common key and the COM
posers Obvious fondness for 1t invites 10 specuIa
ton. 1t would be interesting to have an utterance