Chapter 3: The Lion Begins to Roar

Nearly all the musicians in Paris came to the piano recital given at the Salle Erard on the evening of March 3, 1889. The French composers Gounod, Massenet, and Saint-Saens were there. So was their famous Russian colleague, Tchaikovsky. It was the sort of audience that is usually described as "small but distinguished." It included many members of the Polish aristocracy in exile who lived in Paris, their "second capital." And they had brought with them whatever friends among the French nobility they could round up for the occasion. It made no difference to them that they had never even heard the name of the young man who was playing. The fact that this Ignace Jan Paderewski was a Polish artist was all they needed to know about him.

From Paderewski's point of view, however, the two most important people in the audience were two Frenchmen named Edouard Colonne and Charles Lamoureux. Both men were conductors of highly successful orchestras bearing their names. And each man was not only constantly on the alert for new talent, but was eager to be first in bringing it before the public.

Paderewski sat in his dressing room before the concert, completely alone, as was his habit. He was not thinking about the audience or anything else in the world except the music he would soon be playing: Beethoven's Thirty-Two Variations in C minor; some Chopin (whose music he loved above any other and which he felt that he, a Pole, could play as Paris had not heard it before), and one of the most brilliant and fiery of the Hungarian Rhapsodies by Liszt.

The manager of the hall had been surprised when the young visitor had asked to have the lights lowered to about half their usual brightness. So was the audience, accustomed as it was to recitals played with the gaslight blazing at full power. But early in his concert career Paderewski had found that a bright light on the keys of the piano made it almost impossible for him to play.

What happened that night in the Salle Erard?

We have a report about it from a man who was himself one of the world's greatest pianists, and no tribute can be held in higher regard than that spoken by one artist about another. Alfred Cortot said of Paderewski's Paris debut, "He appeared with the suddenness of a lightning stroke, making a blurring, an eruption in our hearts. Instead of a pianist, an inspired poet took possession of the keyboard."

The listeners, charmed from the first moment by the romantic appearance of the newcomer, grew more and more enthusiastic with each succeeding piece. But after the last encore--the encores lasted for nearly an hour--the audience was on its feet thundering its approval.

Two men in the audience had better things to do than shout and applaud. The minute the last note had died away, conductors Colonne and Lamoureux leaped to their feet and began a race to the platform. Each man was determined to get there first. Lamoureux, by a masterpiece of broken field running around cheering Polish counts, French dukes, and assorted musicians, won the race. "Monsieur," he puffed, hearing Colonne slide to a stop behind him, "I have the honor to invite you to appear as soloist in three weeks with the Lamoureux Orchestra!"

Lamoureux and other new friends pressed the young pianist to arrange several additional solo recitals at once. "You must strike again while this enthusiasm lasts," they told him. "You must reinforce this first success, or people will quickly forget you." All professional artists are aware of the fickleness of the public. Paderewski knew what good advice his friends were giving him. The night's triumph, therefore, instead of making him happy, plunged him into absolute misery.

Why? Because the modest young man, encouraged to try his luck by his success in Vienna, had come to Paris with exactly one program prepared. And he had just finished playing it! He could have postponed his Paris debut until he had a larger repertoire, but it had never once occurred to him that he would be called upon to play anything in Paris but his one recital. And now!

"It's impossible," he told himself on that triumphant evening of March 3. The first program--the _only_ program--had taken him eight months to prepare to his satisfaction. Now he was asked to prepare a second program in three weeks! "It's absolutely impossible! I can't even think about it!"

On the morning of March 4, he said, "Well--maybe I could try--"

On the evening of March 23 he appeared with the Lamoureux Orchestra in the Saint-Saens Piano Concerto in C minor. He played it, said the city's toughest music critic, "in a superb and masterful manner." Critics should be embarrassed, the writer added, to praise Paderewski, because they had been so free and easy in using superlatives to describe other pianists. As a result, there was now a shortage of new words by which to describe the particular genius of the Polish artist. Another newspaper promptly labelled him "the Lion of Paris."

The faster Paderewski's career gathered speed, the harder he worked, "always struggling for perfection, pushing on and on to that ever-receding faraway peak of attainment," he would write of those days. "All work is like that.... The summit of the mountain is always farther and farther away." He went back to Vienna and prepared more and more programs, and added concerto after concerto to his growing list. He accepted more and better engagements with bigger and bigger box office receipts to show for them. He toured the French provinces--Lyons ... Nantes ... Bordeaux ... Tours.... Then on to Antwerp ... Brussels ... Liège ... and Vienna again. And always Paris. After three successful seasons in Paris he felt like a real veteran of the concert stage.

The financial rewards of success were important to him because of Alfred, who was now nine years old. It had been evident from the time he was a year old that the little boy, mentally so alert, was not developing well physically. In those days doctors could do very little to improve or even to diagnose his condition. It would seem that he suffered from a congenital weakness of the spine, and possibly of the heart. "Always in the foreground," his father wrote, "was the menace of his illness, a constantly increasing problem to be met. He had his tutors at this time and he was intelligent and gifted. He had a brilliant, clear mind; he loved music too. It was difficult to take him to concerts, but he often went to recitals at the Salle Erard which we could manage easily and he was very happy to go, and touchingly proud of me at these concerts. It was a great excitement to him, a stimulant to his mind. Poor child, he was completely cut off from everything in life except intellectual things, by his great infirmity."

Father and son were together at last. And Paderewski had accepted the fact that the boy would never walk. In Paris Alfred was cared for in the home of the beautiful Mme. Helena Gorska, a friend who gave great love and kindness to the motherless boy and therefore much peace of mind to his father.

Paderewski's reputation made possible another long-awaited opportunity. In 1889, a great exhibition--a sort of World's Fair--was held in Paris. It included a display of pianos from all over the world. Paderewski arranged to have some Kerntopf pianos, up to then known only in Poland, shipped to Paris and exhibited. They won a gold medal (after Paderewski had happily and cleverly used every ounce of influence he had with every one of the judges). The fact that his pianos--Polish pianos--had come out so well in international competition was one of the greatest events in Edward Kerntopf's life. It would never be possible to repay Edward's kindness, Paderewski thought, but at least he had been able to do something. Many people who reach sudden, dazzling success find it all too easy to forget the people who helped to bring it about. It was one of Paderewski's principal characteristics, from his boyhood to his old age, that he never forgot his friends at home.

The road had led him from Warsaw to Vienna to Paris. To continue his conquest of the musical world, Paderewski now turned to London. As his ship pitched its way across the Channel, the seasick artist was in no mood for optimism. The conquest of one city, he knew, did not guarantee success in another city. London in particular had always maintained a chilly "show me" attitude toward artists who came supplied with flowery reviews from foreign critics. Naturally anyone who arrived in the British capital preceded by rave notices like Paderewski's would be under high suspicion.

It came as a nasty shock to Paderewski to find that his London manager, Daniel Mayer, a beginner in the field, had plastered the city with posters advertising the appearance of the "Lion of Paris." Paderewski, a Pole, knew better than the English Mr. Mayer that Londoners simply did not care for this sort of thing. "You make me sound like an incoming circus," he roared at his overeager manager.

Paderewski's gloomy predictions about his first London appearance turned out to be one hundred percent correct. The night was wet and foggy; the hall was half empty; the audience was chilly. The artist, so sensitive to the emotions of the audience, was appalled. And the reviews were ghastly. "Vulgar," "violent," "much noise and little music," "the clay and the jangle of metal," he read about himself in the London papers. The critics seemed determined to cut the lion down to the size of a small tabby cat.

Today we have our own opinion about the cautious critics who complained so bitterly because Paderewski's playing was "utterly at variance with the traditional methods." In England the "traditional methods" of playing certain unfortunate composers often meant rather spineless, languishing, ladylike performances. Paderewski's intense vitality and virility startled the conservative critics of that Victorian era. It would take some getting used to!

After two slightly more successful London concerts, Paderewski went on a tour of the smaller cities. Poor Mr. Daniel Mayer set out on the road with a heavy heart, for he looked forward to financial disaster. To his horror, Paderewski had firmly insisted that his publicity circulars for the provinces should reprint all his London reviews complete! Mr. Mayer, like every other manager in the business, believed in picking out the best and kindest remarks from reviews and cleverly stringing them together with "..." and "...," thus giving the impression that all the critics had thought everything was wonderful. Yet Paderewski had vetoed this simple business procedure for a reason that appalled his poor manager. He said it was dishonest. Dishonest! Who cared about honesty in publicity releases, Mr. Mayer moaned to himself. Results at the box office were what counted! And who had ever heard of a rising concert artist with a conscience. It was a luxury he could not afford.

To Mr. Mayer's vast surprise, Paderewski's honesty turned out to be the best policy, financially as well as morally. The people of the smaller English towns felt--quite correctly--that Londoners looked down on them. For this reason they leaned over backwards to avoid following the lead of the big city in making decisions about anything, even the abilities of an unknown artist. The very fact that the London critics had given him rough treatment was a point in his favor. And the fact that he had circulated all of his reviews, good and bad, piqued their curiosity as nothing else could have done. Curiosity and sympathy are a powerful combination at the box office.

Paderewski finished his tour with the sweet sounds of success ringing in his ears. By the time he returned to London, his complete triumph all over the rest of England had been duly noticed. The lines formed at dawn outside the box office of St. James Hall on the days of his concerts.

His appealing personality and flawless manners quickly made Paderewski a popular figure in London society. He made friends among British statesmen as easily as he did among British musicians. The former gentlemen were surprised at his grasp of so many subjects besides music. And the authority with which this romantic-looking, golden-haired pianist discussed international affairs astounded them. The composer Saint-Saens had, with typical French acumen, already summed up Paderewski's gifts. "Paderewski?" he had said one evening, shortly after the Paris debut. "He is a genius who happens to play the piano!"

It was at this time that the most famous of all Paderewski portraits was made. It was a pencil drawing by the distinguished British artist, Edward Burne-Jones. The picture came into being in a delightful way. As Burne-Jones was walking down the street one day, he passed a young man with a radiant face and a halo of red-gold hair. The artist was so struck by this apparition that he rushed around the block quickly in order to pass it again. Then he rushed back home and announced to the astonished household, "I have just seen an archangel walking on the London pavement!" He grabbed a pencil and rapidly sketched what he could remember of the archangel's appearance.

A few days later Paderewski was brought by a mutual friend to pay a call on Burne-Jones. Much to his surprise he was met by his host not with a polite British greeting, but with an ecstatic cry, "It's my archangel!" Before the astonished visitor could say a word, the artist had seized the unfinished picture and gone to work on it.

A lady who heard him play that year wrote about it this way in her diary: "Went to the green drawing room and heard Monsieur Paderewski play on the piano. He does so quite marvelously, such power and such tender feeling. I really think he is quite equal to Rubinstein. He is young, about 28, with a sort of aureole of red hair standing out."

The admiring lady was Queen Victoria. Another victory had been won in his complete conquest of England.

It was time to move on now and the logical world to be conquered next was the new one. In 1891, the firm of Steinway and Sons in New York offered Paderewski a contract for eighty concerts with a guarantee of $30,000. What young artist could refuse such an offer? On November 3, 1891, Paderewski sailed for New York.