40 Performances Filled This Season Without One Cancellation.
Sold Out Recitals New York, Boston, Chicago.
De Pachmann Greeted by Crowds Everywhere.
Grand Old Master Acclaimed by Press and Public.
"Always his singing tone, the lusciousness of his
color, subdue and enchant."—Lawrence Gilman
, N. Y.
Tribune, Oct. 12, 1923.
"Chopin, Schumann, Mendelssohn grew bright,
exquisite and fragrant and swayed to the everlasting
lyric of his style."—N. Y. Sun, Oct. 12, 1923.
"The old-time Pachmann magic is still there. The
touch is as ravishing as of yore. Those 'tiny golden
mallets' as the late James Huneker called the fingers
with which Mr. De Pachmann strikes the keys, have
lost none of their necromantic cunning. The piano
seems actually to sing at their contact as for nothing
and no one else. The pearly runs—pearls on velvet,
Huneker insisted, but hot pearls—have their glowing
roundness and evenness. Mr. De Pachmann can phrase
as magically as ever."—Pitts Sanborn
, N. Y. Mail.
"It is impossible to imagine that melody (Beethoven
Pathetique Sonata) more serenely and eloquently sung,
with a finer control of the subtlest phrases of
interpretation, and yet with a more genuine simplicity.
"Mr. De Pachmann is, of course, an extremely acute
thinker, the most passionate student of his art, and
of all pianists, the most avid of beauty. He played
with a technical certainty, a physical adequacy, at the
age of 75 simply amazing.
"Some of his performances constituted revelations.
Thus the Allegro de Concert, he made music for a fete
of Titania. And the Nocturne, the Prelude, the
Impromptu, the pieces of Mendelssohn! It is needless and
only repetitive to particularize. It is curious how
supremely modest this man is in his artist's heart, how
reverently he has searched for the secrets of music,
how scornful and utterly intolerant is he, who is so
immodest in his demeanor, of anything less than the
perfect beauty which he rapturously reveals."—Olin
in Boston Post, Oct. 22, 1923.
"Nobody now living can play Chopin as De Pachmann
played four of his pieces yesterday."—Boston Globe,
Oct. 22, 1923.
"A Master of Masters. A miracle-worker, this grand
old man of the piano. The Academy last night was
crowded to hear him with an audience representative
of Philadelphia's intellectual and cultural aristocracy.
He rose to the occasion with a performance entirely of
Chopin, and even more wonderful than his playing
when he was last heard here a decade ago.
He began the program in comparative diffidence and
silence, but, before it was over, two hours later, he was
the communicative and exuberant De Pachmann of
yore, who was styled "the Chopinzee." But it would
be a grave error to ascribe too much significance to the
side remarks. The great feature of the evening was
not what he said or did, apart from the keyboard, but
his musical performance, with its wealth of poetic
insight, sensitiveness of feeling, assurance of technic
despite the accumulated years and singing tone of a pellucid
continuity such as few pianists have achieved.
This master impersonates a whole epoch in his art,
and the country owes him a debt for a liberal musical
education begun in the days of his first tours many
decades ago. He plays today more wonderfully than
in his fiery youth in our Civil War time, The sensitive
interpretation of the third ballade, the close of the F
minor etude, the entire C sharp minor etude, the last
measures of the berceuse, elicited the particular
enthusiasm of the many connoisseurs in attendance. But
analysis in detail does scant justice to the plastic grace,
the fluent elasticity of technic and temperament alike
that defy the ears and speak for the artist's phenomenal
preservation of the abandon and intensity of players who
are his juniors by half a century."—Philadelphia Public
Ledger, Oct. 25, 1923.
"If it is farewell—and the lovable little old man with
his massive stooped shoulders, his leonine head, may
wish to pause in his lifework—then did the large
audience at Poli's truly have the privilege of hearing the
most beautiful piano playing that has been brought
to us, and that may pass our way but once.
Truly—as he naively says—he is the greatest of them
all!"—Washington Herald, Dec. 4, 1923.
"De Pachmann is still a magician. There have never
been many things better in the way of musical
performance than De Pachmann's playing, when he is at
his best, and he can seldom have played much better
than he did at the Mount Royal last night. It must
be a great help to any one to be so sure of his own merits
as he is, and he is, if anything, more sure than ever
when he is playing Chopin. His program was all
Chopin—two hours of it, seventeen numbers, with an
eighteenth thrown in. How could any one do it, least
of all a man of seventy-five? But he played better and
more gaily with each number."—Montreal Star, Oct.
"His playing is marvelous. Such pearly, legato scales,
such velvety tones, such freedom in style and
interpretation, such faithful adherence to the mid-nineteenth
century traditions as to readings of the Polish master's
works are only rivaled by the best of the day's pianists.
Few virtuosos have the smoothness, the lightness, the
silvery tone that De Pachmann still produces.
De Pachmann stands forth as a unique figure in the
pianistic world and links us with the great masters of
the past. He never had the heroic, the passionate
power, the dramatic depth of some pianists, but he had
the finer, the more intimate and poetic qualities which
are so characteristic of most of the compositions of
Chopin."—Chicago Daily News, Oct. 18, 1923.
"Our birth is but a sleep and a forgetting, and
sometimes, as when De Pachmann sits at the piano,
puttering over divine tinkle, we waken to life. Then
as we doze again we dream we have dreamed."—Chicago
Daily Journal, Oct. 15, 1923.
"De Pachmann may never come again, for he has
passed the three score and ten, but the queer old
genius will be fresh in our memories when most of
the others are lost in the fog of the past."—Omaha
News Bee, Mar. 11, 1924.
"Last night at Macauley's a gathering of the loyal
heard once more those delicate fingers that have so
often opened magic casements on faery seas of beauty.
Once more the beadsman of Chopin's fame counted a
crystal rosary. He was received with reverent
appreciation for the famous musician of 75 years who still
dares the hardships of travel and the strain of public
performance and with tender—almost audible—smiles
for the wilful, whimsical, eccentric personality which
has always practised its own stage etiquette."—Louisville
Courier Journal, Feb. 29, 1924.
"As a poet, an interpreter of the delicately lovely
music of Chopin, he is a genius."—Seattle Times,
January 22, 1924.
"De Pachmann and Chopin: These two will
hereafter remain inseparable in the minds of music lovers
of San Diego. For last night at the Spreckels theater
they heard the greatest interpreter in the world of the
greatest master of emotional music. It is said De
Pachmann's understanding of the Chopin music outranks
that of the great Pole himself. And the Chopin
music really seems to be a part of the pianist himself.
It flows from the fingers, a golden and jeweled
stream; scintillating, rippling, purling."—San Diego
Union, February 12, 1924.
"Played Divinely. Last night we sat at the feet
of one of the masters of music, a figure whose position
in the world of music is unique."—Manitoba Free
Press, Oct. 31, 1923.
On this American tour, as in the past, De Pachmann uses
and endorses exclusively the
". . . It cries when I feel like crying, it sings joyfully when I feel
like singing. It responds—like a human being—to every mood. I
love the Baldwin Piano."
Vladimir De Pachmann
MR. DE PACHMAN WILL REMAIN IN AMERICA
UNTIL JUNE, 1926. HIS BOOKINGS FOR NEXT
SEASON ARE BEING MADE BY
THE METROPOLITAN MUSICAL BUREAU
AEOLIAN HALL, NEW YORK CITY
The Baldwin Piano Company
Cincinnati Chicago St. Louis New York
Louisville Indianapolis Denver Dallas San Francisco