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Updated: June 14, 2025
Is it anything quite normal in his fingers, or is it, in the image of a brilliant and fantastic writer on music in America, Mr. James Huneker, a soul like the soul of Belus, "the Raphael of the piano," which, "suspended above him, like a coat of many colors," mesmerises the audience, while he sits motionless, not touching the notes? Is Paderewski after all a Belus?
In 1893 a sensation was created in America by the visit of Henri Marteau, a young French violinist whose excellent playing and charming personality delighted all who heard him. Marteau was called "the Paderewski of the Catgut," and he met with a most cordial reception among musicians. Marteau was born at Reims in 1874.
Even when called upon to accept the obnoxious clause protecting religious and ethnic minorities against which his colleague had vainly fought, M. Paderewski sunk political passion in reason and attuned himself to the helpful role of harmonizer. He held that it would have been worse than useless to do otherwise.
These wrecked my health and it was only by the hardest kind of practice in after life that I was able to regain the natural facility that had marked my playing in childhood. In fact I owe everything to the kind persistence and wonderful inspiration of M. Paderewski. "The right tempo is a very important matter for the student. First of all, he must be absolutely positive that his time is correct.
Tom had learned that an answer to these startling questions and comments of Mrs. Norris was not required. There was no harm, however, in saying the first thing that came into one's head, as in a psychological test, and he accordingly now answered, "Paderewski." "Yes," said Mrs. Norris quietly. Then brightening up: "How is your work going, Tommy?" "Why, it's going pretty well."
I'm going to have a hairdresser. Yes, indeed. When I assume the role, I mean to carry it out. Wait until you see Mrs. Jones. She can take two hairs and twist them about until they look like nothing else so much as Paderewski. She has fine switches, too." This was added after a moment's thought, and confidentially, as though it was not information to be passed around.
First come, first served; and if you're too late you aren't served at all. So the first arrival comes bright and early. I've heard that he has been known to come at peep of day when there's a Paderewski or a Melba for a drawing card. But I've got my doubts of that. Anyhow, I never saw them there much before half-past eight.
Bernhardt is as noted and notable as Millet, Irving as distinguished as Millais; while in our own country not more than two men in painting and sculpture deserve places beside Booth and Forrest as high priests of Art. That your audience applauds you is nothing. The same audience would applaud Paderewski or a great prestidigitator.
Between those limits there seems to be contained the whole art of the pianist, and Paderewski has attained both limits. After his concert was over, Paderewski gave seven encores, in the midst of an enthusiasm which recurs whenever and wherever he gives a concert. What is the peculiar quality in this artist which acts always with the same intoxicating effect?
"Paderewski advises studying scales and arpeggios with accents, for instance, accenting every third note, thus enabling each finger in turn to make the accent impulse: this will secure evenness of touch. Double passages, such as double thirds and sixths, should be divided and each half practised separately, with legato touch. Octaves should be practised with loose wrists and staccato touch.
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