Excerpts on Pachmann
By Alan Walker
Vol. 2, p.306, footnote 12:
Vol. 3, p.462:
. . . But these cases, bad though they are, pale into insignificance beside
the farrago of nonsense which was already starting to accumulate around the
works of Chopin.
. . .
As for the F-minor Fantasy, its first two bars, so we learn, illustrate a
knock at Chopin's door; the next two, his reply ("Entrez, entrez!"); and the
door opens to admit George Sand, Camille Pleyel, Liszt, and others, who
arrange themselves around Chopin to the solemn tread of the march. Eventually
Sand, with whom he has quarelled, falls on her knees and begs forgiveness.
Vladimir de Pachmann used to tell this particular story on the concert stage,
before delivering his "interpretation" of the fantasy, and after cheerfully
informing the audience that he "got it straight from Liszt." Thus is
musical history made.
Vol. 3, p.488:
Liszt arrived in Budapest on February 4 .
He heard Rubinstein give a piano recital
in the auditorium of the Hungária Hotel on February 16;
and the following month he attended a Philharmonic concert
especially to hear Vladimir de Pachmann play Chopin's F-minor Piano Concerto.
Pachmann never knew that he was in the audience, since Liszt had
hidden himself in a box at the back of the theatre
he had long since stopped making official appearances at the Philharmonic
concerts, with which organisation he was still in contention.10
Both Pachmann and Rubinstein paid tribute to Liszt by performing some of his
solo pieces, including Au bord d'une source, which was in the
repertoire of both men.
Although the hour was late ,
Liszt accepted an invitation from the Prince of Wales to go over to Prince's
Hall for the last of the so-called
"smoking concerts" of the Royal Amateur Orchestral Society.
Liszt sat next to the prince and heard the orchestra play
pieces by Beethoven and Rossini. From the standpoint of posterity, the most
interesting event of that "smoker" was the appearance of Vladimir de Pachmann
playing piano solos by Henselt and Liszt himself. It was, in the words of one
reporter, a jovial evening in which the abbé "showed himself thoroughly
smoke-proof."23 [Musical Times, May 1, 1886, p.257.]