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of money) than ever before was awarded an instrumenta artist. Liszt's palmiest days were not by any means equal to this. When Rubinstein was in this country he was so fortunate as to be able to take home with him about $44,000 as net proceeds of the whole season. No other pianist has ever before broken this record. But here Paderewski far surpasses it in the first five weeks of his second season.


There are very many who do not regard this popularity as deserved. Some say he is inaccessible; others that he has mannerisms; others that he does not cut his hair; and others that his playing is not so good as that of Rosenthal, D'Albert, and other good artists, who while well appreciated have never been able to come within seeing distance of this popularity.

But there are several things to be said upon Paderewski's side. In the first place it is enough to call attention to the fact that people go over and over again to his concerts, and enjoy them just as well the dozenth time as the first. Business men who do not particularly care for music do this. This shows that there is an attractive quality in his playing, which criticism does not always recognize. The truth is that Paderewski possesses one of the most individual and charming personalities which has ever been seen in a great artist. superior birth and breeding, his early years of poverty and struggle have given him a heart which is both tender and considerate. Now that his day of great things has come, he is the same simple-hearted gentleman that he was ten years ago when he was pursuing his chosen career as composer, scarcely knowing where his daily bread would come from.


He is a singularly generous man. Last season he played a benefit for his manager and assistant manager, which netted those gentlemen $2,000 each.

The present season he has promised to play for charity. He has told the ladies that if they will organize a concert and sell the tickets on any terms they like, he will play and will himself pay all the expenses of the concert, and the entire gross proceeds may be divided between the three principal charities that may be chosen for the purpose. It is

likely that this benefit will bring in not less than $5,000, and it may reach twice these proportions. To this must be added Paderewski's direct outlay of the expenses, which will reach $500.



He is always surprising his friends. Last season upon one occasion he had a concert in Portland, Me., and Mrs. Montgomery Sears, a well known friend of his in Boston, had a reception for which he had received cards-not with expectation that he would come, but merely as a remembrance. But at the end of the concert he had an engine and parlor car ready, and had himself taken to Boston as fast as the Boston & Maine could get him there. At about 11:30

he walked in and surprised his hostess.


During the present season he has been obliged to lose about $20,000 of concerts in consequence of a felon upon the third finger of his right hand. When this was at its worst the Adamowski concert, mentioned below, took place. Upon being asked whether he would risk playing, he simply said that he could not postpone this concert, because it was not his; he postponed his own concert later. At the very moment when he is doing something most magnificent and princely, Paderewski is most modest and self-forgetful.



These particulars are not foreign to his record as artist. A high bred graciousness enters into and pervades his musical interpretations. The simplest melody under his fingers acquires nobility and grace. You begin by thinking that this is not such remarkable playing after all; but in a moment you find yourself recognizing some little master stroke of nuance or grace which awakens you, and charms and attracts. In short, along with his masterly and consummate technique, there is always the working of a refined and superior musical personality. It is for this that we like this great artist.

Unlike most virtuosi, he is interested in many things besides himself. He is intelligent, quick to observe, remembering little things with the tenacity which holds in his mind the volumes of master-works which make up the staple of his numerous recitals. A face once seen is never forgotten. A person introduced casually, is remembered and placed when not seen for months after. This happens not alone with strongly marked individualities and prominent people, such as those who are showering attentions upon him in every city that he visits, but in the case of young music students whose only hope had been to see him close to."

His manners, also, are easy and full of grace and charm. Authoritative upon occasion, no public man is less self-asser ive in ordinary meeting. Last season he spoke very little English. He is now able to make a fine speech in this language.


* *

He hopes to

His ideal is to study and be a composer. lay by money enough to render it unnecessary for him to travel another year. He will settle in Paris, and will devote himself to composition. The works that he has written give great promise. The beautiful melody in G flat is equal to the best of the Chopin nocturnes. A more gracious melody

can scarcely be found.

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I had the good luck to catch in New York one of the concerts of the Boston orchestra at Chickering hall. The program was both interesting and impressive. Opening with the overture to the "Flying Dutchman," it went on with a 'cello concerto by Davidoff Mr. Alvin Schroeder), the Mendelssohn "Italian" symphony, Liszt's Mephisto waltz, and the prelude to the "Master-Singers."

It is not necessary to spend time in commenting upon this orchestra, at least if the playing upon this occasion is to be taken as an example of its ordinary style. It was consummately fine in every respect. Whatever suspicion of posing for effect there may be in Mr. Nikisch's manner before the orchestra, the playing is excellent to a degree which is

very rarely equaled under the very greatest of conductors. Nothing could surpass the verve, the refinement and precision of this remarkable company of players. This was shown in every one of the pieces, but perhaps nowhere better than in the Liszt selections.

The concerto was delightfully played by Mr. Schroeder, who is a very fine artist. He was recalled over and over again, and at length had to play another piece. Nothing illustrates the excellence of this orchestra better than the fact that two such quartettes as those of Kneisel and Adamowski should be obtainable from its rank and file. No doubt there are yet others there perhaps equally as good, if only the quartette market justified their being brought forward.

Strolling into Steinway hall the next day, what should I stumble upon but our little Chicago pianist, Miss Augusta Cottlow, playing the Chopin E minor concerto for Mr. Nikisch. Others were attracted by the firm touch and musical playing of this gifted young lady, and at the end Dr. Mason joined with Mr. Nikisch in complimenting the young artist upon her excellent interpretation, her power, and her equal and well measured rhythm.

The Kneisel quartette is composed of leading members of the Boston symphony orchestra. Franz Kneisel is first violin, Otto Roth, second, L. Svecenski, viola, and Alvin Schroeder, cello. The players work together with the perfection as satisfactory as one could wish, and the interpretations are characterized by neatness and good sense. The program on this occasion consisted of three works: A string quartette by Dvorak, in E major, op. 80; Beethoven's quartette in G major, op. 18; and Brahms' quintette in B minor, op. 115, for clarinette and strings. The hall was half full, or perhaps a little less. The audience included many well known musicians and connoisseurs. In one of the front seats was Dr. Mason, with two favorite pupils; Arthur Mees, Franz Van der Stuecken, Thallen, and many other wellknown men were to be seen.


In the center of the parquet was Dr. Dvorak himself, accompanied by his wife. Dr. Dvorak is about fifty-five years of age, medium height, thick set, getting rather bald, and with a Socratic face which lights up with interest. His quartette is a work which one would like to hear a second time before saying too much about it. My own impression is that the motives themselves are a little too vague, and the work in consequence is not everywhere clear. The general impression of the music is rather one of musing and melancholy in the first movement, in spite of it being allegro. The third movement is more vigorous, rhythmically. The andante is a very pleasing piece.

The Beethoven quartette is as bright and clear as the other works in the program were vague. It sounded like Haydn. The Brahms work is very beautiful indeed. The last movement is a set of variations, in which the theme is handled with all of this composers' well known technic, but as a conclusion to the work it is not altogether a success, not arriving at a climacteric and completing effect.

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I was just in time for the public rehearsal of the fourth Philharmonic concert, in the beautiful Carnegie music hall. The orchestra, which is a very good one, numbered about 100, the leader being Anton Seidl. The program was this: Symphony in C minor, op. 57, by August Klughardt;


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Scene and Aria, E. Dunque Ver," Rubinstein, Mme. Fursch-Madi;
Vorspeil to "Lohengrin

Concerto for Violencello, in A minor, Saint-Saens

Mr. Joseph Holman.

The symphony turned out to be a well made piece of kapelmeister" music-interesting in many places, and thoroughly respectable, but not poetic, still less sensational. The playing was very good. Mme. Fursch-Madi has always beer a favorite with New York audiences, and her work was extremely well received. But the main solo attraction was the celebrated Dutch 'cellist, Holman. He is no longer young, but he is a strong master of his instrument. Tall, he has very bushy hair, the unusual cut of which entirely warranted the question put me by a lady at a pleasant

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