p.139 Audiences flocked to hear, say, Pachmann and Paderewski for themselves and not for the music they were to play. . . .
p.140 Vladimir de Pachmann (1848-1933), the son of a professor in Odessa, studied piano playing first with his father and then in Vienna. After long years of study, punctuated by public performances both in Russia and Germany, Pachmann emerged as a fully-fledged concert artist. He gave recitals in Vienna and Paris, and in 1882 made his first appearance in London. Here he played the Concerto in F minor by Chopin. He also played pieces by John Field, Haydn, and Liszt. Early in life Pachmann established himself as a Chopin specialist. As such, he gave free reign to a determined individuality and an extraverted and demonstrative romanticism. Some of the legends — without any basis in fact — that have grown up around Chopin, and some of the least authentic views on interpretation of his music, have been derived from Pachmann. [It may be noted that Young indicates no evidence for his various claims.]
Not only was Pachmann individual[,] he was also eccentric. He was exasperating to the musician, but often appealing to audiences. The most frequent gambit was to show dissatisfaction. He would prepare for a recital with an elaborate pantomime in which the piano stool would be adjusted to the right height, the lights in the hall raised or lowered. On one occasion in England he looked at the assembled audience and said: "Too few people; I cannot play. What a shame." When the audience applauded he rebuked them: "Not now!" he said. "Listen till I have done; then I like you to applaud. This was the pattern of every recital — he invariably addressed the audience about something or other — and his career, largely based on Chopin's works, went on for many years. The last ten years or so were dedicated to "Farewell Recitals".
p.141 It was said that Pachmann was the greatest pianist in the world. Pachmann said that Liszt had said so first, but this may not be the truth. This is altogether more reminiscent of the world of heavyweight boxing than that of music. [It may be noted that Young indicates no evidence for his various aspersions.]
p.147 There is, in fact, no longer room for a highly individual character such as Rubinstein or Pachmann.
p.179 [Young recommends the three Pachmann items on the LP Delta, TQD 3037.]