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This article first appeared in the book Great Masterpieces (名曲決定盤) by Araebisu (あらえびす), published by Chuokoron-sha Inc. ((株)中央公論社), Japan, 1939, pages 205-220. It was reprinted without alteration by the same publisher in 1977. The book is a compilation of his articles written for newspapers or magazines, mainly as guides to record-collecting. The present article was evidently written in 1933, the year of Pachmann's death. The author is Nomura Osakazu (野村 長一) (1882-1963), who used the pen-name Kodo Nomura (野村 胡堂) for his novels and Araebisu (あらえびす) for his music criticism.

Very many thanks are offered to Yasuhiro Nakanishi (中西 泰裕) of Tokyo. He not only drew my attention to this article, provided me with a copy of it and entered the characters for word-processing, but also translated it, supplying many annotations. This work was difficult because of the presence not only of current Japanese characters but also of obsolete Chinese ones. The present English version results from some collaboration with me (NN). We jointly take responsibility for the result, and will welcome suggestions for improvements to the translation. I have added section headings for groups of paragraphs; comments are indicated [thus].
This web version is dated 28 April 2009.

This version © Yasuhiro Nakanishi, Nigel Nettheim (2009)

Note added 30 April 2009: a revised version is currently in preparation, modifying some details.

photo of Araebisu

Nomura Osakazu ("Araebisu") (1882-1963)

de Pachmann




[Initial thoughts on Pachmann's death]
p.205 Par 1 Vladimir de Pachmann has died. [I thought to myself:]
      "It has happened".
p.205 Par 1 ウラディミル・ド・パハマンが死んだ。
      『 ――到頭―― 』
Par 2 After glancing at this obituary, I tossed the newspaper aside, as a reflex action. Par 2 私はあのお申譯ばかりの雜報を讀んだ時、思はず新聞を抛り出して了つた。
Par 3 The fact that "it has happened" has many implications [for me]. It has happened before I had an opportunity to hear him in actual performance; further, as a discophile I regret the fact that Pachmann did not record the complete works of Chopin, and in particular the Nocturnes, Preludes and Polonaises. Par 3 この到頭にはいろいろの意味がある。 ――到頭パハマンの實演を聽く機會を持たなかつた歎聲もあるが、それよりも、レコード・ファンの一員として、パハマンに、ショパンの『ノクターン』なり、『プレリュード』なり、『ポロネーズ』なりを纒めてレコードして貰へなかつた口惜しさの方が遙かに大きい。
Par 4 If it had been possible, I wish that he had left us electrical recordings not only of the Preludes and Nocturnes but of Chopin's complete works. Not all the works of Chopin are masterpieces. Scholars tend to respect them all as gems, but not all the so-called masterpieces should really be p.206 considered masterpieces. It is certainly worth-while collecting all Pachmann's recordings of Chopin. Par 4 いや、『プレリュード』や『ノクターン』ばかりでなく、出來る事なら、ショパンの全作品を電気レコードして置いて貰ひ度かつたのである。 ショパンの全作品の中には、素より傑作p.206ばかりではない。 ショパン學者に言はせると悉く珠玉の名曲ばかりのやうだが、實際傑作と稱すべきものは、そんなに澤山あるものではない)が、それにしても、パハマン演奏になるショパンの全作品をレコードで所有することは、決して無意味なことではないと思ふ。
[The significance of Pachmann's recordings]
Par 5 On the whole, Pachmann was not as sharp in the declining period of his life. His electrical recordings are generally not sharp (although there are some fine performances among them), but before that period, taking into account the inferior quality of the recording process, his performances were outstanding. Before he recorded on Victor [including Japanese Victor, JVC] and Columbia electrically [in fact all the Columbia recordings were acoustics, not electrics], he made recordings between 1910 and 1914 when in his sixties [these dates are not quite accurate]—there the mysterious elderly pianist provided us with a remembrance of the Golden Age. Even through the surface noise, one can hear his wizardry without too much difficulty. Par 5 尤も、パハマンも晩年は甚だよくなかつた。 電気になつてからは概してよくないが(それでも二三の佳作はある)、電気以前パハマンは、驚くべき粗惡なレコーディングを超越して、なかなかに美しいのがある。 ビクターコロムビア電気以前パハマンは、一九一〇年から一四年の間に吹込んだもので、パハマン六十歳臺――あの不思議な老ピアニストが、盛んに活躍した時代の形見であつたせゐもあるであらう。 雜音だらけの中からパハマンの魔術を聽くことは、必ずしも困難ではないと思ふ。
Par 6 In the chapter on Pachmann in his essay "Silhouettes", Mr. Ohtagro [Motoo Ohtagro (1893-1979), the author of the earliest music criticisms in Japanese] said that Pachmann's recordings did not convey a true image, and that is quite understandable. For that essay, which was published in 1925, was written before the Great Kanto Earthquake [of 1923, and thus before the era of electrical recordings], and it is natural that those who had been in the audience at his actual performances were disappointed by the pre-electrical recordings. Par 6 大田黑氏の書いた『影繪』の中のパハマンの項を讀むと、レコードパハマンの俤を傳へて居ないと言つて居る、恐らくさうであらう。 この書の出版は大正十四年で、大田黑氏がこれを書いたのは、震災以前であつた筈だから、パハマンの實演を聽いた人が電気以前レコードに失望したのは寧ろ當然のことである。
p.207 Par 7 The same thing applies generally with the exception of vocalists, although it is said that the pre-electrical recordings could not convey a true image of Elena Gerhardt [mezzo-soprano, 1883-1961]. It applies even more to old piano recordings, for there is no doubt that they cannot convey even one percent of the original beauty. It is hardly necessary to mention the recorded piano performances of Ms. Hisako Hisano [also known as Hisa Hisano, 1886-1925, one of Japan's earliest prominent pianists, who studied at one time with Emil von Sauer] and Prof. [Willy] Bardas [1887-1924, a pupil of Artur Schnabel], for we can fully understand this statement through the pre-electrical recordings of Cortot and Backhaus. p.207 Par 7 歌ひ手以外のアーティストなら、同じことが誰にでも言へる、いや歌の場合でさへも電気以前ゲルハルトなどは、俤もないと言はれたものだ。 ましてピアノの舊レコードが、實際の百分の一の美しさも傳へないと言はれても恐らく嘘は無いだらう。 久野久子女史や、バルダス教授のピアノレコードを引合ひに出すまでもなく、コルトーやバックハウスの電気以前レコードでも解ることだ。
Par 8 In any case, he was too old when he made the electrical recordings. In this connection, it was a similar story with Paderewski, whose pre-electrical recordings are more marvellous [than his electrical ones] despite the poor recording quality. There is no conceivable way that they could provide a proper image of an artist who created a certain kind of atmosphere quite apart from his technique, as Pachmann did, but, taking into account that the beauty of his playing was tarnished as a result of his age, any listener will want to know who is playing. From this point of view, despite what Mr. Ohatguro said, I still maintain that the old recordings of Pachmann have great significance. Par 8 併し、電気になつてから後のパハマンはあまりに歳を取り過ぎた。 此點はパデレフスキーも同樣で、レコーディングは惡くても、却つて、電気以前の方が魅力があると言はれて居る。 パハマンの樣な、テクニックよりも或種の雰圍氣を作り出すアーティストは、電気以前レコードで正しい俤を摑むことは、固より望みの無いことであるが、年齡に破壞された美しさを差引くと、果して孰れが孰れか疑ひ無きを得ない。 私は此意味に於て大田黑氏が何と言はうと、パハマンの古いレコード電気以後のレコード同樣の重要性を認めるものである。
[Collecting Records]
Par 9 Digressing from the subject at hand, I am planning to start searching again in the secondhand record shops at Kanda [a district of Chiyoda, Tokyo]. I have not had time to do so, and have to consider that pre-electrical records sell for outrageous prices nowadays. I can understand that orchestral and chamber music is not particularly noteworthy (because of the poor sound quality), whereas by contrast certain of the vocal recordings and records made by virtuosos in their youth, that provide a p.208 remembrance of them, are significant and valuable. A clumsy performance will of course remain clumsy, even when it is recorded electrically and thus in high quality sound. Some recordings made by 19th-century virtuosos in their later years are certainly splendid, despite the handicap that they were recorded many years ago. Unless you have sufficient insight and imagination, you will have to stop pursuing this kind of dilettante activity. Even when recorded successfully, the result cannot be superior to actual performance. [If that is what you are looking for,] you might as well donate your entire collection to some public organization and run down to Hibiya Town Hall [in Tokyo]. You can enjoy many musical works there. Par 9 話は餘事に亙るが、私はもう一度神田の古レコード屋あさりを始めようと思つて居る。 時間が無いので果し兼ねて居るが、近頃、電気以前レコードの相場はあまりに法外だ。 オーケストラや室内樂には最早生命の無いのは判り切つて居るが、歌のレコードの或物や、今は世に無p.208き人の形見のレコードや、老いたる巨匠の若かりし頃のレコードには、充分の意義もあり値打もある。 電気で入つたところで、――いかにレコーディングだけは素晴しくなつたところで下手は矢張り下手だ。 レコーディングの古さのハンディキャップがあるにしても、十九世紀から遺された巨匠逹の晩年のレコードには、實に素晴しいものがある。 それを味ふほどの雅量と想像力がなかつたら、レコード道樂などは止すことだ。 レコードは何んなによく入つても實演に勝る道理は無い。 コレクション全部を市の道路局にでも寄附して、日比谷の公會堂へ行くが宜い。 彼處で音樂の刺身がふんだんに聽かれる。
Par 10 Pardon my digressing again to acknowledge Mr. Sengoku [no details available] who is collecting, with great perseverance, pre-electrically recorded violin and vocal performances. Collectors nowadays tend to be too indiscriminate. They are so shallow that they tend to consider everything good, if it is a new electrical recording. At any rate, none of them, whether a pianist, violinist or vocalist, is as proficient as the virtuosos born in the 19th century. Par 10 もう一つ餘事に亙ることを許して貰へるならば、私は、電気以前のヴァイオリンと歌のレコードを根気よく集めて居る仙石氏に敬意を表して居る。 近頃の人はあまりに浮気過ぎる。 電気の新しいレコーディングでさへあれば何んでも良いやうに思ふのは、何んと言ふ淺ましさであらう。 ピアノにしても、ヴァイオリンにしても、歌にしても、十九世紀から遺された巨匠達に及ぶ人は、其後たつた一人も出てゐないではないか。
Par 11 I have departed a long way from my main subject, but I wanted to convince you that Pachmann's pre-electrical recordings should not be disdained. Par 11 大分脱線したが、私はパハマン電気以前レコードが、決して輕蔑すべきものでないことを語る積りであつた。
[Pachmann's specialization on Chopin]
p.209 Par 12 Pachmann is one of the five virtuosos of history who played mainly Chopin. His manner of performing Chopin brings forth more restrained and delicate beauty by far than we could have imagined. p.209 Par 12 パハマンショパン演奏者として、恐らく歴史に殘る五人であらう。 彼のショパンに於ける靑白い雰圍氣と病的な美しさは、全く想像以上のものであつたらしい。
Par 13 Just as Chopin was the poet of the piano, so Pachmann was the magician of the piano. In their philosophical and technical approach they are both unorthodox in a way that inherently gives them a connection. Par 13 ショパンピアノ詩人であつたやうに、パハマンピアノ魔術師であつた。 どちらも、その思想に於て技巧に於て、決して正統的でなかつたところに一脈の相通ずるものがあつたのであらう。
Par 14 Several excerpts and criticisms of Pachmann's Chopin playing were written by Mr. Ohtagro. Pachmann is not the right pianist to play Beethoven, and he is definitely not suited to the literature that was composed to fulfill such functions of the piano as that of a Concerto, but the "delicate" and "restrained" beauty sparkles like jewels when he is playing Chopin's smaller works. Par 14 パハマンショパン演奏に關するいろいろの物語や批評は、大田黑氏の書いたものに盡きて居る。 パハマンはベートーヴェンを彈く人ではなく、コンチェルトのやうな、ピアノの機能の發揮の爲に書いた曲には全く不向であつたが、その『不健康な蒼ざめた美しさ』が、ショパンの小曲に臨むと燦然として寶玉の如く輝いた。
Par 15 To produce that, he naturally had a refined touch. But his magic was derived not only from his touch. He delivered sensitive nuances that were so supreme that one could not claim that they were derived from his fingers alone. One could perhaps say that Pachmann acquired directly from Chopin the magic to forge an atmosphere and to marshal audiences into a fervour based upon restrained qualities. Par 15 それは、美しいタッチであつたといふことだ。 併し、パハマンの魔術は、タッチだけの問題ではない。 彼の描き出す陰影の美しさは、指の下の奇蹟とも言ふにしては、あまりに偉力があり過ぎた。 パハマンは恐らくショパンを通して、一種の空氣を作り、聽衆を蒼白い興奮に導く魔術を知つて居たらしい。
[The "Funeral March"]
Par 16 p.210 Pachmann's "Funeral March" has a beauty that is very portentous. It has been said that when one plays this record extraordinary things happen. I described that experience in my novel ["The Story of a Virtuoso" (楽聖物語)], saying that it is miraculously beautiful. Par 16 p.210 パハマン演奏したショパンの『葬送行進曲』のレコードには、不吉な美しさがある。 あのレコードをかけると、何んか變つたことがある――と或人は言つた。 私は現にそれを小説に書いたことさへあるが、重くあの『葬送行進曲』は奇跡的に美しい。
Par 17 Even though it was recorded on a very old pre-electrical disc, is it possible to find a performance as portentously beautiful as Pachmann's? Cortot's electrical one might be considered comparable, but definitely not Godowsky's. Rachmaninoff's is a "theatrical funeral march". I would throw away a hundred other records, if I had to, in order to preserve just this one performance of his. Par 17 電気以前の大古レコードではあろが、同じ曲をあれだけ美しく(不吉な美しさで)彈いて居るのがあるだらうか。 コルトー電気はやや及ぶだらうが、ゴドフスキーも斷じて及ばない。 ラフマニノフの如きは『劇場の葬送行進曲』だ。 あのパハマンのたつた一面のレコードを世界に保存して置く爲には、私は百枚のピアノレコードを葬つても宜いと思ふ。
Par 18 There is beauty in the sadness. It is beauty and not resignation. This beauty may be described as that experienced by someone listening to a solemn hymn while gazing at the casket which has a bouquet of flowers on it. Can there be a kind of beauty in the presence of profound sadness and grief? [This recording shows that there can be.] Par 18 それは啜り泣く美しさだ。 諦め兼ねた美しさだ。 柩を包む花束の搖れるのを、淚一杯溜めた眼で見詰め乍ら尊い讚美歌を強いて居る美しさだ。 あんな深い悲しみ、あんな悲嘆に彩られたられた美しさといふものが外にあるだらうか。
[The "Revolutionary" Etude]
Par 19 A rare recording of his is the "Revolutionary" Etude, issued by Victor and HMV (listed in the Blue Catalog). Referring to the old Victor catalog we are intrigued to find:
      Etude, Op. 10, No. 12 (Arr. for left hand alone in C minor by Godowsky)
p.211 whereas HMV (the historical recording section in the second catalog) gives the following:
      Etude, E Minor—Op. 10, No. 12.
I have the latter one, which he actually played in c minor, not in accordance with the listed key, and he played it with both hands. The old Victor record in fact mentions on its label this performance played by the left hand, but I just caught a glimpse of its label and have not heard it, so I cannot be sure whether he played it with the left hand alone or not. I have been assuming that the old Victor record and the HMV one are the same performance, but there is the contradiction that he has used another key. I would like to leave this as an open question. (I am waiting for a researcher who is willing to look into such a trivial subject.)
Par 19 パハマンレコードで變つて居るのは、昔のビクターとHMVに入つて居る(靑のカタログに)『革命エチュード』だ。 面白いことにビクターの昔のカタログを見ると、  
      Etude, op. 10, No.12 (Arr. for left hand alone in C Minor by Godowsky)
      Etude, E Minor―op. 10, No. 12
私は後者を持つて居るが、レーベルを無視し、ハ短調で弾いて居るのは事實で、同時に、絶對に両手で彈いて居ることも事實だ。 ビクターの古いレコードが、左手云々とレーベルに書いてあるのも事實だが、これはレーベルを見ただけで、聴いたことが無いから、本當に左手だけで彈いて居るかどうか判然しない。 ビクターの古いレコードと歴史的レコードとは、多分同じものだらうと思ふが、さうすると何方もレーベルが違つて居るわけだ。 これは後の人の考證に俟ちたい。 (こんなつまらないことでも研究しようと言ふ人があれば幸せだ)
Par 20 I remember seeing that out-of-print White Label Victor record in the collection at the palace of the Kuni-no-miya [a branch of the Japanese Imperial Family]. As I said above, I seem to remember that there were type-written remarks about the left hand, or something of that kind. Par 20 久邇宮家のコレクションの中には、ビクターの絶版レコード、卽ち白レーベルものが交つて居たやうに記憶する。 これにも矢張り左手云々の但書がタイプライターで叩いてあつた筈だ。
Par 21 Some people consider this kind of investigation to be very trivial, but I take the opposite view and think it is worse to leave a problem open and not investigated. [The explanation is that Pachmann recorded both Chopin's original Etude (1909, HMV) and Godowsky's arrangement of it for the left hand (1912, Victor); Godowsky's arrangement is in C-sharp minor, which was evidently misunderstood in the labelling as E major, which also has four sharps.] Par 21 こんな詮索はつまらぬと言ふ人があるかも知れぬが、疑ひを疑ひのままにして置くことや、疑ふことをさへ知らないのは尚惡いと思ふ。
[Early Columbia and Victor recordings]
Par 22 Pachmann's recordings made before the Columbia New Process [which was introduced about 1924], with Light Blue labels [issued by English Columbia], p.212 certainly have inferior sound quality, so that I had not been inclined to pursue them. That is why [to correct my previous omission], after his death, I immediately obtained three old Columbia records. Par 22 コロムビアのニュープロセス以前レコード、卽ち淺い水色のレーベル時代のパハマンは、p.212レコードが如何にもひどかつたので、私も手を出す勇氣が無かつた。 パハマンが死んでから、あわてて、ニュープロセス後の電気以前コロムビアを、三枚も求めたのはこの爲であつた。
Par 23 On the other hand, some are more majestic than the pre-electrical Victor records. The Nocturne in E-flat, Op. 9 No. 2, is an example. This Nocturne has such an enigmatic beauty that there was no one as persuasive as this in the twenty years before Cortot's electrical recording appeared. Par 23 併し、あの中には、ビクター電気以前にもない美しいレコードがある。 『夜曲=變ホ長調(作品九の二)』などはその例だ。 この夜曲の不思議な美しさは、二十年後コルトー電気が現れるまで、匹敵するレコードは斷じて無かつた。
Par 24 The following recordings are exclusive to Victor: the "Funeral March" previously mentioned, the "Rain Drop" Prelude, the Ballade, and the Nocturne in F, Op. 15. The "Rain Drop" Prelude rises above the poor quality of the recorded sound, and it is so superb that he strikes us emotionally with his uncompromising technique; compared with Cortot's later electrical one, it is so old that we are sympathetically attracted to Pachmann's. I need hardly mention the well-known fact that old records cannot convey a beautiful bass line but, despite that, we can definitely consider this to be more exquisite art than the others, including Paderewski's. Par 24 ビクターだけにしかないものでは、先の『葬送行進曲』を第一に、続いて、『雨垂のプレリュード』、『バラード(作品四七)』、『夜曲=へ調(作品一五)』などであらう。 『雨垂のプレリュード』は、これもレコーディングの惡さを超越した見事なもので、簡素な技巧のうちに、脊に鬼氣の迫るものを感じさせるのは、後のコルトー電気と比較して、吹込が古いだけに、パハマンの方に同情を持たせるものがあろだらう。 何分古いレコーディングで殆ど低音部の美しさが出ない爲に、非常な損をして居ることは言ふまでもないが、それにも拘らず、パデレフスキーはじめ、いろいろの人の入れたこの曲のレコードに比べては、斷然優れた藝術品であると言つてよからう。
Par 25 The Ballade was played in a very quick tempo and shows Pachmann's characteristics only to a limited extent but, despite that, we feel its extreme p.213 beauty filtering through. For the Nocturne Op.15, only Paderewski's early recording is more elegant, but Pachmann has his own transcendent quality. He produces an attractive atmosphere by avoiding the exaggeration of the ending in the manner of Paderewski. Par 25 『バラード』は非常にテンポの速い、パハマン一流の無造作なものであるが、これにも非常なp.213美しさの滲み出すのを感ずるだらう。 作品十五の『夜曲』だけは、パデレフスキーの早い頃入れたレコードの方が美しいが、パハマンにはまたパハマンの境地がある。 パテレフスキーのやうに、末段を劇的に演奏し過ぎることなしに惻々として人に迫る雰囲気を醸して居る。
[Multiple Versions]
Par 26 There are many cases of the same piece being recorded on different labels: Victor, Columbia and HMV. It is too complex a task to discuss them one by one, and moreover I do not have enough time and space, so I will only survey them briefly here. Par 26 ビクターコロムビアとHMVと、共通に入つたものはかなり澤山ある。 その一つ一つに就て言ふのは、煩雑でもあり、且つ、時間も、行数も許されないことで、此處では、極めて概念的な話に止めて置かうと思ふ。
Par 27 He recorded three Preludes, the "Rain Drop" and Op.28/23 and Op.28/24 [multiple times; also, apart from unreleased ones, Op.28/6]. The short Prelude Op.28/23 in F is unquestionably beautiful, and Prelude Op.28/24 in D [minor] has long been celebrated by enthusiasts and is as tragic as the "Revolutionary" Etude. It displays Chopin's legendary patriotic pride and passion. At all events, he [Pachmann] conveys a terrifying effect. Only Cortot can match it. Par 27 プレリュードは全部で三つ入つて居るが、『雨垂れ』を除くと、あとは作品二十八の二十三番目のと、最後の二十四番目のだ。 二十三番目のヘ長調の短いプレリュードも申分なく美しいが、ファン達の間に、昔から知られて居るのは、二十四番目の『ニ長調のプレリュード』、卽ち『革命エチュード』と竝び解せられるあの情熱的なプレリュードであつた。 その中には傳説的なショパンの祖國愛と、憤激とが燃えて居る。 兎にも角にも、凄まじい効果をパハマンは擧げて居る。 僅かに後のコルトーが匹敵するばかりだ。
Par 28 The Impromptu in A flat was recorded twice; it shows Pachmann's ethereal beauty. Par 28 卽興曲=變イ長調』も二通り入つて居るが、あれはパハマンの夢見るやうな美しさを代表して居るだらう。
p.214 Par 29 The "Black Keys" Etude is also not played as attractively by others as by Pachmann, with the exception of Busoni. It gives an example of Pachmann's beautiful individual touch. One thing I forgot to mention is that the Etude Op. 25 No. 3 was recorded at least twice for Columbia. It is a relaxed performance in Pachmann's manner. It is unexceptional and does not have any significant point to make. p.214 Par 29 黑鍵エチュード』も、ブゾーニ以外には、こんなに美しく弾いた人がない。 パハマンの有名なタッチの美しさを代表するだらう。 言ひ落したが、作品二十五の三の『エチュード』は、コロムビアへだけでも二通り入つて居る。 パハマンらしい暢氣さだ。 出来はさしたるもので無い。
Par 30 I find the Rigoletto Paraphrase to be a somewhat preposterous piece, but Pachmann liked playing it so much that he made some recordings on Victor and Columbia. Mr. Ohtagro wrote that he had heard Pachmann play this live, and that the recordings do not fall far short of that. Mendelssohn's Songs without Words are fair [presumably referring here to Op.62/6 ("Spring Song"), the only one which Pachmann recorded in multiple versions]. He played two pieces of Schumann, but I find that these amount to little [the Novelette op. 21/1 and the Waldscenen op.82/7 ("Vogel als Prophet") are the Schumann ones with multiple versions]. Par 30 『リゴレットのパラフレーズ』は馬鹿な曲だと思ふが、パハマンは好んで彈いたやうで、ビクターにもコロムビアにもある。 大田黑氏は實演を聽いたことを書いてゐるが、レコードでも相當美しい。 メンデルスゾーンの『無言歌』も惡くない。 シューマンのものは二つばかり彈いて居るが、大した事はないと思ふ。
[The Electrical Recordings]
Par 31 He started making electrical recordings a long time ago [in 1925 and 1927, this article being written in 1933] and his entire legacy is contained on [at least] seven [actually eight] discs; he first recorded perhaps two discs, then six discs in one year, and finally, three years ago, one ten-inch disc. [The eight HMV electrical recordings are: 1925: DA 761, DB 859, DB 860, DB 861, DB 931; 1927: DA 927, DB 1106, DA 1302.] Par 31 パハマンが電気で入つたのは、大分古いことで、最初は二枚ばかり、續いて一年ばかりの間に六枚入つて、最後に三年ばかり前、十吋が一枚入つた切り、全部で七枚が總遺産である。
Par 32 All these he played when over [actually nearly] 80 years old, and they are not quite perfect, but he nevertheless expresses beauty that mediocre pianists would not be able to imitate. Par 32 いづれも、パハマン八十歳以上の演奏で、決して出来の良いものではないが、それにしても、凡庸ピアニストには眞似の出来ない美しさがある。
Par 33 Pachmann's recorded electrical performances show a deterioration into inelastic [compare par 42, 44] playing and in fact also into a lack of rhythmic control but, despite p.215 that, his performances are so worthy of respect that we cannot deal with them on the same basis as innocuous and academic performances by other players who have [no more than] an appropriate technique that has been polished up excessively. Par 33 電気パハマンレコードは全く彈力を失つた演奏で、リズムもこはれて居ることは事實だp.215が、併し、それにも拘らず、徒らにテクニックの端正を望むやうな、乾燥無味な、アカデミックな演奏とは、日を同じうして語ることの出來ない尊いものがある。
Par 34 Overcoming any kind of impediment caused by his advancing age, his piano performances have so much restrained fervour and dreamlike wizardry. Even though Pachmann was aged, his performances have a beauty that is enough to put to shame anyone who merely performs in a correct manner like a mechanical piano. Par 34 あらゆる年齡の障害のうちにも、パハマンピアノには、何が無し蒼白い情熱があり、夢の國の魔術があるのだ。 パハマンはどんなに歳をとつても、自動ピアノのやうに正しく彈く人を輕蔑させるだけの美しさを持つて居たのである。
Par 35 When I first heard Pachmann's electrical recordings I was amazed by his monologue that accompanies the Nocturne in B, Op. 32 No. 1. The moment when I heard this record is by far the most amazing that I have ever experienced. Pachmann suddenly mumbled something while playing the piano. Par 35 最初パハマン電気吹込レコードを聽いた時、私は、あの『夜曲=ロ長調(作品三二の一)』の中に入つて居るパハマンの獨言に驚かされた。 全くあのレコードを聽いた時ほどびつくりしたことはない。 パハマンピアノ演奏しながら、いきなり物を言ひ出したのだ。
Par 36 Many have written that Pachmann talks during his performances, and that has finally been captured on record. That manner of performance is somewhat questionable, to put it mildly, but, on the point that he shows his specific individuality so clearly, this record (DB 859) with his monologue is very entertaining and it is to be treasured. Par 36 いろいろ書いたものでは、パハマン演奏し乍ら物を言ふと讀んで居るが、到頭それがレコードに入つて了つたのだ。 演奏としては、勿論怪しからぬものだが、パハマンの個性をはつきり見せてくれた點に於て、あの口上入のレコード(DB八五九)は全く愉快でもあり貴重でもある。
Par 37 Finally, he also spoke at length before starting to play the Waltz in D flat, Op. 64 No. 1 (DA 761). And there is another record on which he is mumbling under his breath, but I cannot remember now p.216 which one it is. Par 37 其後十吋の『ワルツ=變二調(作品六四の一)』のレコード(DA七六一では、到頭演奏を始める前に滔々と口上を述べてしまつた。 ――外にも一枚小さい聲でつぶやくのが入つて居る筈だが、今は記憶しない。
Par 38 It is a wonderful thing that, at last, recordings with Pachmann's spoken commentary have been issued! They are of course unconventional as piano recordings, but they are very appealing in that they pass down to us the eccentricity of this virtuoso. Par 38 萬歳ツ、到頭パハマンの文句入のレコードが出現した。 ピアノレコードとしては勿論邪道であるが、大演奏家の奇癖を後の世に傳へる意味で、このレコードはなかなか面白い。
Par 39 The performances on these two records are fair. The Waltz in c-sharp minor (DA 860) [actually DB 860] was issued later, and this performance is interesting. He squeezed it into half of a 12-inch record, and for that purpose played [the outer sections] quickly rather than clearly, but he played sincerely and full of emotion, and he brought out unimaginable beauty from [especially the middle section of] this piece. Even Rachmaninoff's recording, compared with Pachmann's, displeases me on account of its excesses. Pachmann's performance brings forth multicolored spectral beauty shimmering like a haze of heat. It is nothing like a theatrical Waltz [compare Araebisu's earlier remark about Rachmaninoff's "theatrical" Chopin funeral march]. Par 39 演奏もこの二枚は惡くない方だ。 其後出たものでは『ワルツ=嬰ハ短調』(DA八六〇)が画白い。 十二吋片面の半分で片附けたもので、耳にも止らぬテンポの速さだが、思入澤山に、芝居味をたつぷりに彈いた此曲には想像も出来ない美しさがある。 ラフマニノフの此曲などは、パハマンに比べると、芝居氣が入り過ぎて不愉快でさへある。 パハマン演奏は、陽炎のやうに舞ふ五彩の幻の美しさだ。 決してレヴューの舞臺で見るワルツではない。
Par 40 The Polonaise Op. 26 No. 1 (DB 931) is worth having, for it preserves for us his wonderful beauty even when playing in his later life. Two Mazurkas Op.50/2 and Op.24/4, and some Mazurkas issued recently by Columbia and Victor, also impress us as model Mazurkas educating us about these pieces. Pachmann's wizardry brings forth his legendary and artistic sentiments, even though he is weakened by his advanced age. Par 40 ポロネーズ(作品二六の一)』(DB九三一)も、貴重な美しさを保つて居る點で、パハマンの後期のものとしては敬服すべきだ。 『マヅルカ二曲(作品五〇の二、及作品二四の四)』なども、近頃コロムビアビクターから出た『マヅルカ集』なども、これに比べると敎壇のマヅルカと云ふ感じがするだらう。 パハマンの魔術は、老いの征服の下から、妖しくも美しい感傷を作り出す。
Par 41 The Nocturne in e minor Op. 72 and two Mazurkas Op. 63 No. 3 and p.217 67 No. 4 (DB 1106) have been issued but they are not quite so impressive, although the Mazurkas are, after all, still beautiful. The Nocturne has considerable beauty and provides, appropriately, a description of his own dreamland. Par 41 その次に賣出されたのは『夜曲=ホ短調(作品七二)』と『マヅルカ二曲(作品六三の三、及p.217六七の四〕(DB一一〇六)』で、これはさしたる出來でないと言つても、マヅルカは矢張り美しい。 ノクターン』も獨白の夢の國を描くには充分な美しさだ。
Par 42 Finally, the 10-inch record containing the Preludes Op. 28 Nos. 6 & 3 and on the other side Mendelssohn's Prelude in e recorded in Germany [a misunderstanding—Pachmann made no recordings in Germany, though some were released there], was issued last year also by Japanese Victor (number 1459), and these are full of enthusiasm. It is so sad that his playing has completely lost its elasticity [compare par 33, 42], but it still faintly retains its beauty. Par 42 最後に出たのは、ドイツで入つた十吋で、これは昨年あたり日本ビクターからも出されて居るショパンの『プレリュード(作品二八の六及二八の三)』、裏はメンデルスゾーンの『プレリュード=ホ短調』(一四五九)であつたが、これは強弩の餘勢だ。 すつかり彈力を失つて、美しさのほの殘るうちにも、いたましさを感じさせる。
Par 43 By now, I have said almost enough about Pachmann's recordings. Par 43 以上、私のパハマンレコードに関する話は大體盡きた。
Par 44 Pre-electrical records are not going to be pressed any more, but at the very least the Victor company should press the other six electrical records to make them available to kindred spirits. There are some who say that Pachmann is nothing special, but it is lamentably ill-advised to say that. It is quite wrong for us to expect youthfulness and elasticity [compare par 33, 42] in an 84-year-old man [his last recordings were made at age 79; Araebisu is perhaps referring to release dates]. If you are looking for a tidy technique, you can hear it from pianists who are now on the stage. There are so many skilful pianists in Japan. Pachmann's strength does not lie in shattering ardor and exemplary technique. We have to form a concept of this virtuoso's high standing despite his unsteady rhythm and lack of polish. Par 44 電気以前レコードは最早プレスの問題に上せたくないが、ビクター會社はせめて、殘る電気の六枚をプレスして同好の士に頒つ可きであると思ふ。 パハマンも駄目だ』と言ふ人もないではないが、それは甚だ殘酷な言ひ草だ。 八十四歳の老人から、若さと彈力とを求めてはいけない。 端正なテクニックを望む人は、敎壇のピアニストに聽くことだ。 日本にもうまい人が澤山ある。 パハマンの良さは、埃臭い熱や、先生風の技巧ではない。 あくまでも壊れたリズム、失つた光澤の中から、宜巨匠本來の面目を見てやらなければ嘘だ。
p.218 Par 45 Such a great Chopin pianist is unlikely to appear again. If it is possible, it might happen after 50 or 100 years—I have absolutely no idea when he might appear. Because recent pianists are particularly self-centered and opinionated and do not perform with any fascination, it is unfortunate that Pachmann has passed away. In this respect, Pachmann's recordings are indeed invaluable. As a group together with four of Busoni's posthumously-released records, I treasure them. p.218 Par 45 これほどのショパン彈きは、もう出現しないかも知れない。 現れるにしても、五十年後やら百年後やら見當も付かない。 近頃のピアニストが妙に我執と理窟に囚へられて、一向面白くもない演奏に堕ちようとして居る時、パハマンを失つたのはまことに惜しいことだ。 その意味に於ても、パハマンレコードはまことに貴重である。 ブゾーニの四枚の遺作レコードと共に私は十襲して愛蔵しようと思ふ。
[Records released after the above was written]
Par 46 After I had completed this article [presumably in 1933], the Victor company issued [presumably by 1939] three records of Pachmann. Here are two of them:
Waltz in Db—"Minute" (Chopin Op.64/1 in Db) (with Pachmann's commentary)
Waltz in Gb (Chopin Op. 70/1)
      (JF 17) [HMV DA 761]
Etude in Gb—"Black Keys" (Chopin Op.10/5 (with Pachmann's commentary)
Prelude in b (Chopin Op. 28/6)
Mazurka in G (Chopin Op.67/1)
      (JF 55) [HMV DA 1302].
Par 46 この稿を書いた後、ビクター會社が三枚のパハマンを賣出した。 内二枚は、
Par 47 These two records are listed in the general catalog, and we can easily obtain altogether three records counting the above-mentioned ones [, the third one containing]: Prelude in b and Prelude in p.219 G [Victor 1459]. Par 47 以上二枚は一般カタログに載せられたもので、前掲『前奏曲=ロ短調』及『前奏曲=ト長p.219調』のレコードに加へて合計三枚のパハマンは自由に求められることになつてゐる。
Par 48 Of these, the most noteworthy performance is that of the Etude in Gb, known as the "Black Keys", which is so intense that it is hard to imagine that he played it at an advanced age. His legendary beauty, which is brought out by some features of this piece, as well as floridness and a sort of wizardry are consummately brought out by Pachmann's esoteric performance. Par 48 このうちで最もすぐれたのは『練習曲=變ト長調』卽ち黑鍵エチュードで、これは老人業とも思へぬ鮮かなものだ。 この曲の特色たる華やかさと一種の暗さが、パハマンの魔術的な演奏で、此上もなく妖しい美しさを發揮してゐる。
Par 49 In addition, the Victor Anthology of Virtuosos contains the Nocturne in e [actually the Nocturne in B op. 32/1] (JS 2) which is famous on account of his commentary. This is the most significant performance among Pachmann's electrical recordings and it is very fine, so I think it is almost enough for your collection to keep this Nocturne along with the previously-mentioned "Black Keys" Etude. Par 49 もう一つ、ビクター演奏家祕曲集の中に、口上入りのノクターンとして有名な『夜曲=ホ短調』(JS二)が採られてゐる。 このレコードパハマンの電気レコード中最も重要で、且つ出來の良いもので、先の黑鍵エチュードと併せて保存すれば、大抵の蒐集はそれで充分だらうと思ふ。
Par 50 It is supposed that Pachmann recorded pre-electrically a total of about 10 to 20 records on Victor, Columbia and HMV, electrically 7 records on 14 sides on HMV, and 1 or 2 records in England. I thought that I had obtained all of them, but later I found that I was missing 34 pre-electrical records; I eventually collected all of them after 34 years of keeping alert and making an effort. I found some of them in second-hand shops, and the others were given to me by Mr. Tsugumichi Iwasaki [, a Japanese music critic]. Par 50 パハマンレコードといふものは、電気以前ビクターコロムビア、HMVが全部で一二十枚位、電気以後のHMVは七枚十四面、外に英国以外で吹込んだのが一二枚あつた筈である。 私は全部所有して居る積りでゐたところ、その後電気以前レコードに三四枚の不足を發見し、三四年間の注意と苦心で漸く揃へることが出來た。 一部は中古屋で捜し、一部は岩崎雅通氏に惠まれたのである。
p.220 Par 51 Anyone who asks why I collect Pachmann's recordings these days does not have much insight into the recording art, or much sympathy with it. It is worth-while honouring deceased virtuosos and keeping their memory alive through their legendary recordings. p.220 Par 51 今頃パハマンの蒐集でもあるまいと言ふ人は、それはレコード音樂に對して正しい理解と同情を持たない人だ。 怪しい録音を通して、故名人の風格を偲ぶのは、決して無駄なことではない。