MEMORIES OF PADEREWSKI

Nelson Evening Mail, Volume LXXI, 13 November 1937, Page 5

MEMORIES OF PADEREWSKI

The very name of Paderewski, who is making his first film appearance in Lothar Mendes’ “Moonlight Sonata,” conjures up a vision of a world of charm and discernment which was passing away before the war. When he first dawned on London’s social and artistic circles, his success in Paris was used to advertise his first concert, and he was spoken of as “the Lion of the Paris season.” His third concert was a furore', and for subsequent ones his admirers set to shame our modern stories of opera queues sitting throughout the night before the performance, by waiting at the doors of the St. James’s Hall two or three days before his recitals. He captivated the crowd and he completely won social celebrities. BurneJones enthused on his amazing features and head, and insisted on an introduction for the purpose of drawing him. The Duchess of Rutland made several sketches of him, and he sat for the famous successful painter of those days— Laurence Alma Tadema. He was painted by Princess Louise, Duchess of Argyll, and in 1891 received the crowning honour of his career when he was commanded to play before Queen Victoria at Windsor. He played to her years later, and to many members of her family. NEVER AGAIN Two stories are put forward to explain why Paderewski never returned to play in Berlin. One relates that he decided to go sightseeing with his manager one morning. It must be stated that at this time Paderewski’s mane of hair was at its glorious best. Without waiting for instructions, the cabman drove off, and eventually came to a standstill in a shopping thoroughfare. Paderewski leaned out to see what place of interest they had reached, but could only see shops. “This,” announced the cabman, “is the best hairdresser in Berlin.”

The second account of his disregard for Berlin was because of an insult he received from von Bulow, the conductor. For an encore, Paderewski played the Polonaise Militaire of Chopin, and von Bulow, filled with a mixed feeling of jealousy of his success and outraged patriotism that Paderewski had not chosen a German composition, remained on the platform sneezing and coughing. FEMALE FARRS It is remarkable how many films are being made that call for a knock-down battle between the romantic leads. Carole Lombard and Frederick March staged a fist fight for “Nothing Sacred" the other day, with Carole giving Mr March a real run for his-money. Another screen battle in which the lady emerged victorious was staged at R.K.0., with Barbara Stanwyck and Herbert Marshal] as the principals. The outcome of this one was even more serious than the Lombard-March fracas, with Barbara landing such a hard one on the dignified Mr Marshall’s eye that ne had to resort to a two-day beef steak treatment.