MAUD ALLAN

Dominion, Volume 7, Issue 2135, 29 April 1914, Page 8

MAUD ALLAN

AND THE CHERNIAVSKYS

The art of Maud Allan, grows on one like all things that are genuinely artistic. First impressions of any daring adventure beyond the weil-tramped tracks of convention are often misleading, and it is only that usage which is born of understanding that places the achievement correctly i» the critical mind. One only has to quote the struggle that Wagner experienced to gain the recognition due to iiiui, and a rtore recent instance was the ban placed upon Saint-Saens's opera, "Samson and Delilah," which, upotill a few years ago, was forbidden to bo presented in England, but which has smets found a place not only in tho programmes of Coveut Garden, but is frequently sung in eoncert form by prudent musical societies. . Miss Allan represents something new, and yet something which is, somewhat paradoxically, as old as the hills— the physical expression of emotion as conveyed by the best in music. One can-

not conceive the dancer with this stiff outspreading ballet skirt and the paddtd slioes endeavouring to translate th« pototry of Chopin or the corie queries of Grieg. With tho visitor there is a girlish freedom and innocence suggested in tho flowing hair, untouched' by artifice, the soft clinging dress, and the bare feet that is exactly appropriate, Very happily, and with, a grace that- delights, she represents the primitive daughter of Eve, to whom rhythm is life and melody a joy, and, if those who fitness her performance only havo an inkling of -what the music seeks to represent, they must, sooner or later, become Worshippers at her shrine. Last evening, before a fairly large audience, Miss Allan eleeted to make her first appearance- iativo of tho ItHo pieces of Grieg—"Erotic" and "Little Birds," and it would be difficult to imagine anything more dainty in am* mated silhouette than tho delicate meaning that she gave this entrancing music. She also danced dreamily to one of Grieg's "Poetic Tone Pictures" (Op, 3, No. 3). Her Chopin studies, "C Siinor" (soul in bondago) and "G Flat" (capture of an olfin steed) were extremely chasto and beautiful realisations et tho soul of tho music. Later Miss Allan translated the Barcarolle from Offenbach's ''Tales; of Hoffman" into a dream of Venice. ', "With a downward sweeping curro of her expressive , arms, she represented tlao : gondolier poling his war along the moo»lit waters, and basking in tho presence of his inamorata. la striking contrast! w.as Grieg's "Norwegian Dance" (No. ' 1), in which she- was tho capricious merry elf—a- veritable Puek among the roses. Encored she frisked charmingly to the lively strains of • Sshybcrt's sprightly "Moment Musical," and, in further response to the- applause, shedanced with stately 'grace- and grayo charm to tho music of a Beethoven "Minuet." 'The Cherniavsky trio played tho accompanying music with raro skill 'and meaningful understanding. Their part in tho programme was an important one. Chief in interest was the playing by Mr. Leo Cherniavsky (tho violinist) of two movements of tho Max Brtieh "Concerto." This Concerto, but rarely heard in this part of iko world, is a colossal work, abounding in technical difficulties, and veined with a wealth of soulful melody of a highly emotional character. It is a test for a violinist of the highest standing, and Mr. Cherniavsky,. whoso bread, warm tono reflects his tine, temperamental equipment, came through wjth flying colours. Ho was ably assisted by .Mr. Frank St. Leger at the piano, wjioso task was one of considerable- magnitude. Tho achievement of Uio two was rewarded with a doiiblo eficoro, graciously acceded to. Mr. Mische) Cjieriitavsky played with consummate feeling and smoothness the "Cantabile" of Cui, Popper's lively "Ark'fjimi," and as an encoro tho immortal "Traumerio" of Schumann. Mr. Jan Cherniavsfci, who plays Chopin with a light and airy delicacy, wholly delightful, contributed that composer's "liallado in (x Minor," and bad to submit to the demands of a doublo recall. Tho trio weep also bonrd to great advantage in the "Elogio" nnd "Finale" movements of Arcnsk.y's "Trio in IX" This evening's programme will find Miss Alla.i as jho iHtorprprer of Chopin's "Preludes" (Op. 28), flic same composer's "Murclio Funebro," and Mpiidolsisoliii's "Spring Song," : s Chopin "Noofurne," am! Schubwt's "Moment Musical," Mr. Lc-o Ohr-r----ninvski will play thi> Vipimwsk.y ''Fiinst" fantasia; Mr. Mischol Qhwiisnvski Popper's "Hungarian UUansortip," and Mr. Jan Cherniavski Cbepin's "Scherzo in B Flat Minor."