Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1914-03-31
BIG OVATION HERE
FOR PADEREWSK|.
His Performance Of Last Night
Marks Point in Harrisburg's
Musical History

An attempt to crfticise the program
or to criticise in any way the work
of the artist would fail utterly of its
purpose. One can but point out those
things which made his performance
one of musical history here. The in
ability to properly handle the almost
unprecedented audience of 1000 COM
PEELED late start, but when at S:45
lPaderewski stepped upon the stage he
was greeted with tremendous ova-
ton.
The first number was the prelude
and Fugue in A minor, the Liszt ar
rangement of the famous Bach COM
position. Each melody as 1t was
worked out possessed remarkable
clarity and above all stood the de-
lightful shading given to the work by
the artist not ordinarily done with
any of the Bach numbers The three
movements of the famous Moonlight
Sonata by Beethoven followed and the
artist was probably heard at his best
in the Presto agitato, although in this
last movement there was an uncer-
tainty of rhythm at times.
Four of the small Schumann num-
bers all played in magnificent style
followed. The most noteworthy fea-
ture of this group was the clearly
singing tone with which Paderewski
played Des Attends, the first of the
group. Two Schubert-Liszt numbers
completed the first half of the pro-
gram. In the first Soiree de Vienne.
No. 6, Paderewski clearly emphasized
the snappy waltz theme which so en-
phatically characteriZes the southern
Geramn waltzes and clearly brought
out all of the fgurations of the first
theme around which the composition
is built. In the last number of the
group, the Earl King, the artist made
the number doubly wonderful in that
clearly sing the words of this ia
nous number
Most notable in the three Chopin
numbers which opened the second
part of the program was the Polo
naise, Op. SO. All of the numbers
were beautifully played but the
''aristocratic" Interpretation gave to
the Polonaise a charm and delight
which were not felt in the other num-
bers. The number which probably
called for the greatest variation fol-
arrangement of the Wagnerian num-
Der. Here the Interpretation called
for the delicate shading as well as
the big orchestral effect This num-
Der was considered the best on the
program in that it probably taxed the
artist to a greater degree than any
other
The program was closed with a
List Hungarian Rhapsody in which
u 81 IL,
ment and gave a remarkable exhibi-
ton of virtuosity At the conclusion
of the program the artist played a
double encore which consisted of two
Etudes by Chopin; the F Major and
the G fiat major which is better
known as the Butterfly etude. The
entire program was marked by a big
ness of conception and the artists
known ability to SO delightfully."- color
his tones
There was but one displeasing fea-
ture of the evening. A great deal of
criticism was heard before the recital
that because of poor acoustics the
beauty and charm of Paderewski's
playing would be utterly lacking. This
however was not noticeable for at no
time was there any trouble expert
enced in hearing even in the remotest
corners of the hall the delicacy of
shading and tone used in any of the
numbers. The audience experienced a
great deal of difficulty in both getting
in and out of the hall for the crowd
was entirely too great for the size of
the hall used for this concert. Fully
900 people were at all times between
and $3.50 trying to get through the
one entrance in Chestnut street and it
was due to this that the recital sched-
uled to start at S:15 was not begun
until S:45.
MAX ROBERTSON.