The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1908-02-08

great many more auditors could nave been
comfortably accommodated. Only q few
seats were left on the first floor and prac-
tieaily every seat in the gallery seemed to
The reputation of Salt Lake City as a
music center was more than upheld. In no
no city in the land, and the statement is
made with full recollection Of the greatest
of the nations music centerS could Pad
erewski have drawn a greater audience or
one more thoroughly appreciatiVe. 1t was
an audience of which any artist might
have been proud, or any city. for that
matter
Paderewski has grown perceptibIv older
since his last visit here. There are lines
In his face that were not there year or
two ago. His hair is rapidly turning
White, but his wonderful manipulation of
the keys Is more wonderful than ever be-
fore. Those who heard and saw him last
night for the first time, saw a thin. ner-
vous man of medium height with u great
shock of hair eyes set wide apart above
a Shapefy nose, light mustache and a
tuft of beard. Paderewski was not in
evening dress, wearing a frock coat and
white vest.
He sat down to a piano that looked, in
comparison with the ordinary household
piano, as big as a battleship. 1t was as
Dig as any three average pianos and was
sent out from New York especially for this
concert With the first notes of the open
ing number, his own work. il became APP
parent that the tabernacle was not so
large that everybody could not hear to ad-
vantage. He started with notes that We're
startlingly loud They produced almost
the effect of great organ tones And Ia
ter, in the lighter passages. the soft notes
Contained carrying quality that made
them easily audible in their finest Shdd-
ings to auditors at a distance as well as
to those who were close to the platform.
Candor cOmpels the statement that Pad
erewsI's own composition was the least
popular number on the program. 1t was
his Opus %, Variations and Fugue" The
variations are many, twenty-One in all
the fugue coming last. The number runs
twenty minutes and. apart from its splen-
did execution, it Is notable feat OF men,
DRY to play it, as PadereWshi did, without
notes. His entire program, indeed, was
done without notes.
There was much confusion befOref the
beginning of the second number, a
Beethoven sonata, Opus q, No. 1, in E flat
The pianist started several times, and
each time he suspended in order 10 per-
NIT the seating of late corners. When he
finally swept into it he gave it grandly
This number did not meet the manifesto
tons of approval. though, that were ac-
corded to succeeding ones. notably the
Singer, 'Soiree de Vienne' and Fri
king" The first named was received with
exceptional enthusiasm. At the conclusion
of the trio PadereWski had planned an in
PERMISSION which was not set down in
the program, but the applause was so pro-
longed that he gave an added number
For the opening of the second part he
chose a Chopin trio, a nOcturne, F sharp
major, Opus 10; etudes 10 and 3, Opus 10;
scherzo, B flat, minor. 1t has been said
of this nocturne that it paints the palm
and cypress the rose thicket and the
great stars burning low in the southern
sky There could hardly be a more apt
description. for those are the impressions
one draws from the music. The etude iii
G flat, major, the first played, was writ
ten for the black keys, and is most in
fpF nnVnnnG1Tlnn
etude. in A flat, it has been said that the
pianist who can play it in finished man
ner is to be congratulated "On having
climbed to the highest point OF the plan
lists Parnassus. Certainly Paderewski
can justly lay claim to this distinction.
Stojowskis Chant ID Amour which
followed, is brilliant and affords many
opportunities for the display of Pader-
ewski's mastery technique. 1t is inter-
esting to note that the composer is one
of Paderewski's pupils, who is now
resident of New York City. LISTS
''Rhapsodie Hongroise." No. 13. closed
program that was altogether delightful.