PADEREWSKI'S RETURN

New Zealand Herald, Volume LXIV, Issue 19675, 29 June 1927, Page 12

PADEREWSKI'S RETURN

PIANIST AND STATESMAN. A MAGNETIC PERSONALITY. STATE SUPPORT FOR MUSIC.

There have been in the past greater composers and even greater pianists than Paderewski ; his future masters in the world of music may be already living. But by force of a magnetic personality, Paderewski stands to-day as one of the great men of our time. The early years of his life were filled with hardship, but he rose supreme as a poet of the pianoforte, fit to take his place with the masters of all time.

The great pianist is a Pole, and so imbued with that great devotion for his country that distinguishes all the sons ot the barriei State of Europe. After the war Paderewski seized on a chance to bring back again a living Poland. His country three times had been despoiled and divided —torn to bits to feed the greed of Russian, Austrian and Prussian autocracy. And the great pianist dreamed of an independent Poland. The artist turned statesman, even as Chopin, a fellow-countryman, had done before him, and his dream was realised. Poland was set free from the yoke of centuries. Now Paderewski is back in New Zealand, having returned after an absence of 23 years. His figure may not be as lithe as of yore, his hair is streaked with gtvy. But his eyes have lost none of their fire, and it is said that his hands have lost little of their cunning, cunning that can reveal unsuspected beauties even in the melodies of Chopin, Schumann, Beethoven and Liszt. New Zealand Audiences. Paderewski is genuinely fond of New Zealand. "Of course, I only get a fleeting glimpse," lie said, "but it is a beautiful country. Nowhere have I seen so many beautiful shades of green. There is moisture in the earth and everything is beautiful. The last time I was here [ travelled to Dunedin from Christehurch by night. This time I went in the daytime, and it was wonderful." Paderewski has kind words to say for New Zealand audiences, too. Their.musical appreciation was well developed, and he had met several teachers in the South whose views, on music were very sound. This was an excellent foundation. "My audiences have been larger this time," tie said. "I do not know whether a better appreciation of music or a larger population accounts for this, but probably it is due to both. "Of course, you cannot ~ hope to produce truly great musicians here yet," ne continued. "Your country is too young; you have not the traditions. But there is no doubt they are growing." When he was asked for his views concerning State aud municipal support of music, he said that such a question showed that music as an art must grow in New Zealand. Encouragement ol Music. "It is a most important question," Paderewski said. "Music, the best in music, is a luxury, and for luxuries much money must be paid." Symphony concerts could not be supported by the prices for admission, otherwise prices vsould be exorbitant. Someone would have to stand the losses, for music as an art was necessary.

In Germany, one of the homes of music, every city, every town of any importance, had its own permanent orchestra, al! under the support of either Government or municipality. And they had beautiful halls for the performance of this music, not fine town halls used for a variety of purposes, but beautiful concert halls used for music alone. "It is a pity the English-speaking peoples do not follow' sucli a scheme, ' he said. "Already it is being done in America, where rich citizens are encouraging music,, but it should be done in England and in her Dominions also." The master knew that already steps were being taken by the authorities ; n several Now Zealand cities to place New Zealand music, on a firm footing. In .WVHinsrten lie hud noticed that a very accomplished city organist nave recitals. He had heard that Auckland had a municipal organist and a very fine municipal hand, and this, too. pointed to a very healthy growth of music in the country. If a State was to become famed for its musicians, it behoved those in charge of the State to establish a trust for the musicians of the future.

Visits to the country by celebrated musicians could accomplish much. They conferred a great advantage, but the advantage had to be pressed home. Orchestras at Theatres.

"I have noticed another thing about your music," said Paderewski., "and that is the very high class of musifc that is being played" at your houses of entertainment, your picture theatres. In NewYork the picture theatres have magnificent orchestras of seventy or eighty players, but outside of New York I have heard nothing in this line that can come up to what you have in New Zealand. The orchestras are not large, but thev play well and they play beautiful music. And. what is more, the people enjoy it." Paderewski was - very diffident when talking on modern music. There was a noticeable tendency to return to the simplicity of the classics. But the cry of the world to-day was for originality and the public demanded originality from modern composers. "Originality can be very valuable if it ifc sincere," he said. "If there is sincerity it will last. But when originality is forced it becomes artificial, and much modern music is artificial." However, he considered there were manv talented men amone modern composers Ravel in France (the -young oeople called him nld-fr>=hioned I. Falla ;tt Spain, and a vouner fellow-countryman. Szymanowsk'. were amoni f he masters Effect of Broadcasting. Broadcasting was not having a good effect on modern music It had forced the Queen's Hall concerts out. of London's musical life, and it was hindering: rather than helping great artists. "I have broadcasted once." he said. "I shall never do so again. It was in the fine London station, where everything was done for mv comfort Rut it was not the same. They told me my performance was fine, hut I knew it was not. My piano did not answer to mv touch as it does in the concert hall. To an artist, the broadcastinc of his "music is depressing. "Perhaps the great majority of the people who attend concerts do not understand the personality of an artist But it is personality that makes an artist's plavinc. and broadcasting does not consider this. And then there are those curious people who like to claim a knowledge of everything about which f he world talks. Thev hear a famous artist once over the wireless and thev say. 'I have hoard him ' That is sufficient for them. Thev would not think of going to his concerts, and without concerts mus'c cannot flourish "