Word: pianos
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Dates: during 1920-1929
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Vienna heard him first, then Berlin, Paris, London. The Steinways brought him to Manhattan in 1891. He played in the old Madison Square Garden Concert Hall but it would not hold the crowds, and Carnegie Hall was for the first time used for piano recitals. Paderewski became the rage from one end of the country to the other...
...entered the War. Paderewski went home to become Premier of Poland. He drew up a plan of an independent Poland. He went to the Peace Conference, helped Poland to its freedom, won international recognition for his distinguished service. For nearly six years he did not touch the piano. Then in 1922 he came back, proved that the stubby fingers had lost none of their fleetness, that the Paderewski tradition was supreme...
This year, as in 1891 and in 1922, critics dispute his talents. To be sure they do it reverently as befits a colossus who has been endowed with intellect, imagination, magnetism. Yet they chide him gently for banging at the piano, for sliding over details and being content too often with broad jagged splashes of color, for limited programs that have been given over and over again. Paderewski takes no notice. He never reads the reviews of his concerts. His life is his own. He sits up far into the night, practices, plays cribbage with Mme. Paderewski, stays...
Mysteriously appearing from beneath the stage, the jazz orchestra leader stands on his unseen pedestal, raises his baton. To the elfing ripple of piano, the squeal of clarinet, the deep-throated protest of the bass saxaphone, and the triumphant laughter of the trumpet, the great gray house curtain rises slowly into the flies. Vanishing, it reveals the show curtain, pride of the company, whether of an appetite for clean fun in the academic halls there depicted, and a justifiable pride in this curtain which creates in advance the collegiate atmosphere for what Grantland Rice though "the only really convincing college...
...with the New York Philharmonic Orchestra-and a great audience was surprised.* They had expected a bulky, grim-jawed man with personality to match. Instead they saw a frail little person scoot shyly around the orchestra's first-string men and bow his way almost meekly to the piano set out for him. They had expected to hear him play a new concerto which had disturbed and pleased the International Festival for Contemporary Music last June in Frankfurt. But when Conductor Willem Mengelberg looked over the score, he pronounced it too difficult for just a week's rehearsing...