Par 1 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. He played, 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 his own. 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.

Par 2 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 phrase. 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.

Par 3 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.

Par 4 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 [major], an impromptu well suited in its matter to his extremely original art.

Par 1 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.

Par 2 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 Paderewski.

Par 3 "After de Pachmann, he is the first of pianists," he declared.

Par 4 Of modern music and musicians Mr. de Pachmann has small opinion, as he readily admitted.

Par 5 "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."

Par 6 A question about his Russian compatriot, Rachmaninoff, brought a huge laugh.

Par 7 "A man who plays with his nose on the keys? Bah!" said de Pachmann.

Par 8 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.

Par 9 "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.