IGNAZ FRIEDMAN.

Press, Volume LXIII, Issue 19063, 27 July 1927, Page 10

IGNAZ FRIEDMAN.

A GREAT PIANIST.

BRILLIANCE AND DELICACY. Benevolently anxious at all times for our musical education, concert managers have lately cast their nets for a haul of tip-top pianists, lauding in fairly quick succession such recognised masters as Backhaus, Paderewski, and now—-Ignaz Friedman. Whom to acclaim the winner troubled many minds last night. At one time, it was an easy game. There lived, by universal vote, only one Liszt, only one Rubinstein worth considering among the pianists' ranks. Nowadays they jostle each other, each eager to be the first admitted to Olympian heights. Thanks to perfected systems of training, brilliant feats in technique are within the reach of most, and we are not so easily hypnotised by display and appraise them less highly than of old. It is the player who carries us with him almost against our will, whose congenial individuality is clearly perceived behind the most exquisite conception or his musical task that commands our admiration and leaves unfading memories and ideals. To apply to Mr Friedman the epithet "Colossus of the Piano can hardly be admitted as an apt designation, for in no wav does he resemble the brazen image of Rhodes. In *ery few moments you recognise that he is very much alive, and, barring an occasional cannonade in the basses, there is little that is metallic about him. H© loves to paint in the most delicate tints, but on his palette is found every colour up to the richest, while his technique responds to any demand as if difficulties did not affect him. In a. word his rank as a great pianist is beyond dispute. His programme began in an unconventional way with Mozart, Hummel, and Brahms; Mozart's charming "Rondo in A Minor" taking the load. But in contrast the Hummel "Rondo in E Flat" falls very flat. Not even Mozart could teach or endow him with his own divine gifts. There followed a monumental work, the Variations and Fugue" on a Handel Theme by Brahms. The most amazing fertility of invention and ingenuity are here displayed, and they exact a degree of proficiency little short of perfection. With the interpretation of the variations, changing into every conceivable mood, only the chosen few can be trusted, and Mr Friedman doubtless counts with the few. They alone stamped him as an inspired artist. Lovely ballet music by Gluck, played with beautiful tone, and Mendelssohn's sparkling "Scherzo" in A minor served as delightful encores. Inevitably we were treated to a substantial group of Chopin solos, and we have had to take Chopin in doses even for him rather too liberal of late. But one number at least, the "Polonaise in B flat minor," a production not yet of the mature stage, had never been presented. The "Mazurka" in B flat and the "Valse" in E minor were produced in characteristic style, the magnificent G minor "Ballade" called forth a performance of splendour, and ended with torrential effect and merciless basses. Again no greater mastery could be shown than that of Mr Friedman in the Butterfly, the black key, and the thirds Etudes chosen. Especially the tempo adopted in the Etude "in thirds" was one of bewildering rapidity, implying for most people the effort of years. Extreme delicacy, often as if the keyboard were merely breathed upon, was the great distinction of practically all the Chopin numbers, not omitting the so-called Raindrop Prelude. A sketch, "Elle Danse," by Friedman himself, and .later on in his "Tabatiere," an imitation of a, r musical box, were conceived in elegance and daintiness. .* ■ In the final group were included Liszt's (alas!) evergreen "Liebestraum," Schubert's "Hark, Hark I the Lark," and the brilliant, treacherous Paganini-Liszt "Campanella," beside encores, but new comment seems unnecessary after the eulogies already expressed. The recitalist was applauded to the echo all the evening. No one, who plays or drums on the piano, can afford to miss to-night, the last opportunity of hearing so fine and eminent an artist.