Par 1
It was a surprise for many of even the
well-informed among Australian musicians
to know that a Melbourne
woman was the
pianist Vladimir de Pachmann's wife. Madame
de Pachmann-Labori is still prominent
in the artistic life of Paris, where after
having obtained a divorce from the eccentric
musician, she married M. Labori, the famous
advocate who was conspicuous in the sensational
court proceedings which shook France
to its foundations when the facts about Captain
Dreyfus were properly probed. She was
Maggie Oakey ,
a remarkably gifted pianist
who went to Europe from Melbourne
when a young girl.
Par 2
Many inquiries have been received with
regard to the career of the former Madame
Pachmann, who it seems was in communication
with the venerable Chopin exponent
a couple of years before his death. Some
interesting facts are related with regard to
her in "Musical America" for January 25.
The Paris correspondent of that journal
says: "The many American admirers of the
late Vladimir de Pachmann's unique art may
be interested to know that the traditions
of his playing are being carried on in Paris
by his former wife and only pupil, Marguerite
de Pachmann-Labori, who has long
been one of the outstanding musical personalities
of the French capital.
Par 3
"Beginning her musical career as a prodigy
at the age of six; appearing in concerts
in the leading European capitals with such
artists as Joseph Joachim and Adelina Patti
at sixteen; coming shortly afterwards under
the spell of de Pachmann and putting aside
all that she had previously learned in order
to master his method; then obtaining brilliant
pianistic success as Madame de Pachmann;
and later, as the wife of Fernand
Labori, noted French barrister, devoting herself
chiefly to composition—this interesting
musician has recently begun a new chapter
in the varied volume of her life by deciding
to take up the teaching of her former husband's
method, of whose secrets she remains
the sole recipient.
Par 4
"Very characteristic is the account of her
first meeting with de Pachmann, who asked
to be introduced to her after hearing her
play, as a girl of sixteen, in London. With
his customary directness, de Pachmann said
to her, 'Mademoiselle, you know nothing at
present, but you have the divine sensibility
and the musical intelligence which I have so
long sought. Will you be my only pupil.
But you are not to impart my method to
anyone.'
Par 5
"Such was the restriction which the great
Russian pianist imposed on his privileged
pupil at that time. But he subsequently overcame
his reluctance to have the secrets of
his method revealed, and in a letter written
to Madame de Pachmann-Labori in 1931, expressed
his approval of her decision to
impart the fruits of his teachings, and his
satisfaction at the thought that his method
would thus survive him."