Vladimir de Pachmann:
Recital Program, Review & Article, 1924
Friday Evening, October 17th, at 8:30
Vladimir de Pachmann
|1.||(a)||Concerto (in the Italian style), F
major . . . . . . J. S. Bach|
|| Allegro animato|
|| Andante molto espressivo|
|| Presto giojoso|
||Fantasia, C minor . . . . . . . . . . . . . . . . . . . W. A. Mozart|
||Nocturne, Op. 72 (Oeuvre posthume) E minor . . . Chopin|
||Valse, Op. 64, No. 2, C sharp minor . . . . . . . . . . Chopin|
||Prelude, Op. 28, No. 2, A minor . . . . . . . . . . . . . Chopin|
||Prelude, Op. 28, No. 6, B minor . . . . . . . . . . . . . Chopin|
||Prelude, Op. 28, No. 11, B major . . . . . . . . . . . . Chopin|
||Mazurka, Op. 50, No. 2, A flat major . . . . . . . . . Chopin|
||Scherzo, Op. 54, E major . . . . . . . . . . . . . . . . . . Chopin|
||Nachtstück, Op. 23, No. 3, D flat major . . . . . Schumann|
||Eclogue (Années de pelerinage), A flat major . . . . . . Liszt|
||Rhapsodie, Op. 79, No. 1, B minor . . . . . . . . . . . Brahms|
Baldwin Piano Used
Management: Metropolitan Musical Bureau
33 West 42nd St., New York City
[A cutting, presumably from a New York newspaper, concerning the above program:]
Vladimir de Pachmann Plays
By Olin Downes
Vladimir de Pachmann made his first New York appearance of the
season last night in Carnegie Hall.
The program was characteristic.
The program included Bach, Mozart, a large Chopin group, and a final group of
Schumann, Liszt, and Brahms.
Mr. de Pachmann discoursed of the music
while he played, describing its beauties as they appealed to him.
Its difficulties to the performer, the virtues of his "new method" and the time
it had taken him to prepare these compositions for his audiences.
on occasion, with the rare beauty of tone, the exquisite sense of phrase, and
the subtle mastery of dynamics within a special scale of sonorities which are
Now he was the exquisite singer of melodies and an executant
who retains much of the astonishingly clean and precise technic that
had distinguished him in past years.
Now he was the comedian, amusing himself and the audience.
It would be possible to exclaim in irritation at the passing
eccentricities which have exasperated many a sincere admirer of Mr. de
Pachmann's art, and to allow such a reaction, and differences of opinion
concerning his wayward and willful interpretation of certain passages to
overshadow what is a more important fact, namely, that when Mr. de
Pachmann rises to his full height as a musician and a pianist — and it is not to
be forgotten that underneath his fooling and his "causeries" lies a profound
knowledge of his art — he gives performances of a unique poetry and beauty
which will die with him, and that often constitutes revelation in a single
It is easy to remark upon the scrambling of the finale of the
Bach Italian Concerto and the jokes that went with it, but there are very few
who can play with a finer sense of line and of its incomparable cool beauty
the ornaments and fioritura of the slow movement of the same work.
Moments of Mr. de Pachmann's playing last night had the sense of
mystery and wonder in the contemplation of beauty that only the great artist
communicates. Again, few play Mozart with the fineness of feeling and
simplicity of style which graced the fantasia last night. The Chopin group
was interpreted with uncommon restraint and with the free but controlled
rubato which release music from the boundaries of "bars" and "measures,"
yet retains intact its inner architectural quality. This group included the
posthumous nocturne in E minor, played — sung — with ravishing tonal
quality and melodic articulation; the C sharp minor waltz; preludes in A
minor, B minor and B major; the A flat mazurka and fourth scherzo in E
major, wherein, with limited sonority at command, the pianist nevertheless
communicated the melancholy and dramatic spirit of the music.
Mr. de Pachmann played encores in response to the enthusiasm of a
large audience — one of these being, as he justly remarked, the greatest of
impromptus, that by Chopin in F-sharp minor
an impromptu well suited in its matter to his extremely original art.
[A cutting, presumably from an Atlanta newspaper,
either the Journal or the Constitution,
possibly about the same time as the above recital:]
Pachmann Calls Himself Best of Living Pianists
In a blue dressing gown, puffing at a long cigar in a still longer holder,
Vladimir de Pachmann, the pianist, received several visitors early Friday in
his apartments at the Biltmore. In the next room the tuner who travels with
him was restoring one of de Pachmann's two pianos to normal condition, for
the virtuoso practices several hours a day and must have his own instrument
in his room.
The veteran Russian speaks English with a slight accent which
becomes more pronounced as he grows excited — which is as soon as he
begins talking of music and musicians. Certainly, he is the most outspoken
celebrity who ever gave an interview in Atlanta. He seems to say precisely
what he thinks. Some one in the group asked him what he thought of
"After de Pachmann, he is the first of pianists," he declared.
Of modern music and musicians Mr. de Pachmann has small opinion,
as he readily admitted.
"Leopold Godowsky is writing great music for the piano," he said.
"All that is worth while. He is my great friend. For opera, Puccini is the
only composer worth mention."
A question about his Russian compatriot, Rachmaninoff, brought a
"A man who plays with his nose on the keys? Bah!" said de
Nor does de Pachmann like America. He hates New York, where the
critics are ignorant, he says, and Boston is no better. The smaller towns
where he is playing are not so bad, for the critics are not so critical, and do
not discuss what they know nothing about.
"But you can say that I worship at four shrines," he said. "Wagner,
Liszt, von Bulow and Brahms." He did not mention Chopin, though
frequently he devotes a major share of his programs to that composer and is
considered his foremost interpreter.