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.

NEW YORK
  "Always his singing tone, the lusciousness of his color, subdue and enchant."—Lawrence Gilman [1878-1939], 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 [1879-1941], N. Y. Mail.

BOSTON
  "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 Downes [1886-1955] 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.

PHILADELPHIA
  "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.

WASHINGTON
  "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.

MONTREAL
  "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. 18, 1923.

CHICAGO
  "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.

OMAHA
  "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.

LOUISVILLE
  "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.

SEATTLE
  "As a poet, an interpreter of the delicately lovely music of Chopin, he is a genius."—Seattle Times, January 22, 1924.

SAN DIEGO
  "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.

WINNIPEG
"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

Baldwin

". . . 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 [sic] 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
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