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Ignace Jan Paderewski's U. S. debut was no sensation. A stormy crossing from England on a small steamer had upset his stomach. The unexpected news that he was supposed to play six lengthy piano concertos during his first week in Manhattan had upset his nerves. After the concert he returned in a panic to his hotel room, where he immediately started to practice for his second appearance. The other guests banged angrily on their radiator pipes. So he went out again, woke up the watchman at the Steinway Piano Company's warehouse, and spent the rest...

Author: /time Magazine | Title: Music: Veteran | 2/27/1939 | See Source »

...second concert," he later remarked, "was much better." But it was not until he had spent another night in the warehouse whipping up concertos by Rubinstein and Chopin that Pianist Paderewski became Manhattan's biggest show since P. T. Barnum's Museum...

Author: /time Magazine | Title: Music: Veteran | 2/27/1939 | See Source »

...third concert the audience caught fire. Women crowded to the stage to shower him with bouquets. The box office grossed $3,000. When it was over, Paderewski found himself the lion of Manhattan. His success was repeated in Boston, Chicago, Philadelphia. His first U. S. tour netted...

Author: /time Magazine | Title: Music: Veteran | 2/27/1939 | See Source »

...Lion. Last week, in spite of doctors' warnings, 78-year-old Paderewski took the road again. Accompanying him from Switzerland was his dapper, diplomatic secretary Sylwin Strakacz, his valet and a curious, high-backed, fringed, 50-pound piano stool which is as indispensable to Paderewski's playing as the piano itself. Waiting for him in Manhattan was the private Pullman which will be his home during the next three months. Waiting also was his faithful piano-tuner, grey-haired Boston-born Eldon Joubert, who has accompanied him on all his U. S. tours since...

Author: /time Magazine | Title: Music: Veteran | 2/27/1939 | See Source »

...expression. The idea of technique is secondary in jazz; that's why a good swing piano man doesn't like Art Tatum's work--a lot of octaves which when finished don't mean anything, don't convey any emotion, and could have been played twice as fast by Paderewski anyway. The true swing man tries to express sincerely, cleanly, and simply at all times the emotions and ideas which he feels. If you play fast, or loud, you stiffen up. The result is no swing...

Author: By Michael Levin, | Title: Swing | 2/24/1939 | See Source »

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