Polish pianist, composer, and politician (1860-1941) whose abounding talent and personal magnetism made him one of the most popular virtuosi of all time. Eloquent autograph manuscript signed "I. J. Paderewski," four pages on two adjoining sheets, 6 x 7.5, personal monogram letterhead, October 6, 1932. The great pianist-politician reviews a music book, in part: "'Master School of Piano Playing and Virtuosity,' by Alberto Jonas, is the result of a great artist's life-long observations and labour. In his earnest desire to attain perfection the author has not confined himself to his own vast experience and knowledge, or to the rich legacy bequested by our illustrious fathers and forefathers. He called upon his contemporary fellow-artists and fraternally invited them to partake in the enjoyment of a legitimate merit. Many of my highly esteemed colleagues, almost all the distinguished pianists of the last two decades, have answered the call, thus adding by their contributions to the value and magnitude of the work. Among those renowned and familiar names mine is not to be found. The omission is one to my own fault. When the call was issued, at the time this remarkable work was being prepared, I had already deserted the ranks of musicians. Destiny had assigned to me another task. The performance of the assumed duties, the responsibilities and worries of an important office prevented me from joining Alberto Jonas in his noble efforts…Great many methods of piano playing have been published since the patriarchal days of Carl Czerny to whom we all are so much indebted. Some of those methods have served the purpose assisting the students of former generations in their struggle with technical difficulties, helping them sometimes to solve the so often perplexing problems of fingering. From a historical point of view they still deserve attention and command respect. But the marvellous evolution of the literature for the piano, the numerous and noteworthy compositions following the immortal master-works of the past, have created new difficulties, new problems. The progress in the building of the instrument itself, originated by the genius of Erard and carried by that of Steinway to the summit of perfection, has exercised on piano technician influence that has not hitherto received the deserved consideration. The field of piano playing has become not only wider, but much more complex. Under the circumstances the necessity for a truly modern treaty on piano playing has been keenly felt. The 'Master School' by Alberto Jonas most completely fills the vacancy. It contains great many things for which one would vainly look into the already existing 'Methods' or 'Treaties.' The wealth and grouping of material, the amazing number of examples, selected from the entire literature of classic and modern piano music, the astounding quantity of ingenious, practical and useful exercises, the countless specimens of salutary fingering and the precision of the explanatory remarks—make it a monumental pedagogical work. In its many sidedness and completeness it has not peer. As a guide of the student, as an advisor of the teacher it stands alone." In fine condition.
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