PADEREWSKI

Evening Star, Issue 12308, 24 September 1904, Page 8

PADEREWSKI

HIS SECOND AND LAST CONCERT IN DUNEDIN. There was a very large .audience at His Majesty's Theatre last night to hear Paderewski, and, as on the previous evening, his playing commanded the closest attention. Trained musicians would probably say that the great master breasted his highest level at this second concert, and if pressed for proof the opening piece would, of course, be cited. This was Bach's 'Chromatic Fantasia and Fugue' a composition abounding in incredible difficulties. We wonder whether any of the greybeards present remember any rendering of tiha work that could match Paderews'ii's either in respect to the sureness and clearness with which the complicated runs, recitatives,.etc., of the first section were played, or the wonderful executive skill that enabled the master to manage the three voices of the fugue so as to avoid the least entangling. It is doubtful whether anyone would dare to try to produce their parallel, even out of the glory-lit recollections of younger days. Again, a demand for evidence as to Paderewski's genius in interpretation would be sure to bring a reference to the masterly playing of Schumann's lengthy and formidable 'Carnival.' This work, it may be candidly confessed, meant little nioro than ear-pleasing chaos to Dunedin audiences until they heard the exposition given last night. It may, by the way, assist some of our readers to a better comprehension of the 'Carnival' if we quote what an eminent author has written about it: "A bustling ball-play develops itself. Pierrot and Harlequin appear, a Valso Noble unites the parties, the mask of Euseb'ms is seen throug-b, and (he gentleness of Florostan is resumed; the Coquette frisks by, Papillons flutter round, and the letters ASC H dance a rapid waltz, Ch'arina and Estrolla (Clara and Ernestine Wieck) are represented, and Chopin appears in person between them! A short recognition scene in the time of tho Polonaise, the miniature ballet between Pantaloon and Columbine, a comfortable allemande, into which Paganini suddenly darts with his most extravagant, leaps; in the distance a gentle confession of love—all comes together in the polite an! festal promenade of the couples. There is a pause, and then the_ final effect oomea; the ' Davidsbundler' begin an abusive march against-the Philistines; they roar out the grandfather song—- ' Grandfather wedded my grandmother doar, So grandfather then was a bridegroom, I fear.' And the people enjoy it, till they all, with a ' Down with the Philistines,' join in, and a galloping stretto finishes the boisterous amusement." That all these ideas were actually suggested by the performance wc do not assert, but it is safe to state that anyone present who took the trouble to study the subheadings of the programme in tho light of even a brief acquaintance with the motive could trace and identify the various thoughts and personages at the expense of veTy little trouble, and that is saying a great deal for the interpretation. Further, the praises of a grateful musician would be bound to refer to the great and felicitous renderings of the two Liszt rhapsodies—No. 6to begin with and No. 0 for the encore. To ordinary performers these ponderous compositions an simply impossible—when attempted by them the result is a series of confusing and unrelated crashes —and even to confine one's attention to accepted players of high rank, it must bo admitted that never before have we heard any rendering of these rhapsodies that had in it half as much of the translating and explaining character as is displayed by Paderewski. If aslccd for yet another instance of Paderewski's marvellous superiority, can any better example be found than the presto of the 'Moonlight Sonata'? The adagio of this famous work has been reasonably explored by other pianoforte players; so has the allegretto; bub Paderewski's genius seems to make the presto quite ikt, to bring out the music as well as afford the player a chance of displaying his finger power: and it seemed to us, in listening to the performance, that the sonata as a whole was completely in agreement, this sense of satisfaction coming as very grateful after recollections of renderings in which the bullying presto appeared to deface the previous movements. So much for what may be deemed the great works of tic evening in the musician's estimation. To the ordinary hearer, the three Chopin etudes, Nos. 12, 7, and 3, Op. 10 (not Op. 25, as wrong-ly printed in the programme), were not so interesting ns the Chopin etudes of the previous evening. (No. 7 compelled all present to admire the astounding left-hand execution it brought forth, but the other two do not seem to show Chopin to advantage, and oven Paderewski could not manage to light them up. Nnr were we much impressed with the Chopin valse No. 54, but luckily it came at an opportune time for au encore, and the master responded with his satisfying rendering of the valse in A flat (Op. 42). The berceuse in this series proved a source of perfect delight, its exquisite tenderness being expressed with unexceptionable taste. But the beat example of Chopin was undoubtedly the celebrated 'Ballade in A Flat,' sometimes called the 'Undino Ballad.' For the crowd this was indeed the greatest treat of the evening, and we shall long remember its glorious enrichment and purity—qualities that are seldom heard in combination. Schumann'.* ' Nachstuck,' given as the encore to the 'Carnival,' was a type of refinement, and of Paderewsl-i's own bracketed compositions the public selected the ' Cracovienne ' for an encore Ihat was thoroughly deserved. After the concert a number of musical folk waited on Mr Lemmone at tho Grand Hotel, and Mr Barth acted as spokesman in presenting an engrossed letter which explains itself in these words: "To Jlr John Lemmone, director of the Paderewski Nnw Zealand tour. Dear sir,—Wc, the undersigned, feel that we cannot let you depart from Dunedin without expressing our deep gratitude and thanks to you personally for the honor conferred on us by the visit of the justly-celebrated artist, li,'R3C3 J. Paderewski, which we recognise is really due to your representations and enterprise. We regreWhat the time is so short that wc cannot tender a more substantial testimonial of our appreciation, but trust you will accept our assurance that September 22 and 23, 1904, will bo an evergreen and delicious memory to those-who were privileged to be present on those occasions.*' Mr Lemmone acknowledged the eompliment with mtich cordiality. This morning the great pianist and his party left for the Fouth by the express. A concert is to be given at Invercargill tins evening, and Paderewski leaves for Australia by the Victoria on Monday.