MAUD ALLAN

Dominion, Volume 7, Issue 2136, 30 April 1914, Page 9

MAUD ALLAN

AND THE CHERNIAVSKYS

That Miss Maud Allan, tho gifted dancer, and her brilliant support, aro winning their way into tho good graces of tho Wellington public was evidenced Inst evening in the demand that was mado on the seating accommodation. There were very few vacant scats available at 8 p.m., and most of these filled up when tho doors were opened after the first number. j\liss Allan's effort in New Zealand must necessarily bo a hard ono, as she has to dance before an audience, entirely new to her art each evening, and lirst impressions In the case of this artist arc apt to bo slightly misleading. Tho fortunate few who have been present each evening are those whoso opinion is really worth having, for tho very simplo reason that the innate beauty of the dancer, -and tho perfection of her art as a poseur become moro luminous with each performance. It was iSoamc Jcnyns in ono of his cantos on "Tho Art of Dancing" who said:

"True dancing, like .true wit, is best cxprest By Nature only to advantage drcst."

The lines quaintly express a fundamental truth—one, whence Miss Allan may have derived the inspiration that guides her in realising tho many and varied poetical ideals that are embalmed In tho music of the masters. Last evening Miss Allan plumbed new depths. Tho "Preludes" of Chopin (Opus 28) representing "Sorrow," "Despair," "Hope," and "Joy" were delicate, lightlino etchings in emotion, and tho essenco of refinement and grace. In her sombre- moods Miss Allan inclines to tho art.of the poseur rather than to that of the dancer, and there is more arm movement to express the inner meaning' of the music. ' For example, in Chopiir's "Maiche Funebrc"—enacted iu long, trailing robes of smoke grey, shrouded by a weepl'ul black veil. —tho danco was banished for tho nonce, and tho artist becauni a tragic pantomimist of compelling power. It was Grief that stalked 'the stage in human mould—a woman heart-struck, agonisec in her bereavement, mourning for the beloved dead. It was distinctly impressive and expressive. Tliero was no movement, no gesture, no pose that .was not a part of a perfectly grave and solemn, picture, it Maud Allan had done nothing else, this piece of con'suinmate acting would have stamped her as an artist, nud it is to be hoped that she will include the "Funeral March" in the programmes that aro yet' to bo presented. Chopin's "Nocturne" (Opus 15, No. 2) was not nearly so photographic, but, in Mendelssohn's "Spring .Song," her freshness and innocent gaiety were entrancing, and in the "Moment Musical" sho was the joyous sprite, bubbling over with merriment. As encores she repeated tho "Barcarolle" from Offenbach's "Tales of Hoffman," and the delightful Brahm'a walta. ■

The music of the Chemiavsky trio was an unalloyed delight. Their share of tlio honours was a large one. They wero in fine accord in tho first movement of Mendelssohn's No. .2 Trio, and succeeded in creating anew the desiro for that class of classical music, which is practically a dead letter in 'Wellington. Mr. Leo Chemiavsky exhibited his sound and polished musicianship iii Wieniawski's admirable "Faust" fantasia, which calls for a master.technician, and a wealth of temperament.'. Mr. Cherniavsky's interpretation was 'graceful and refined, and,thcde.licac.v. of tonal truth v, 6f l hy^'iiannßniw!''pjicq l, liini. as an artist to be repko'ned with. He responded to tho hearty bis with Kreislor's grotesque' "Tainboiirin Chinois," a clover composition, rich in character. Mr. Mischel Chorniavsky played Popper' 3 "Hungarian Rhapsodic" chaininp:ly, and responded to the applause with Saint Saens's ."Le Cygne." Mr. Jan Chemiavsky. who is every bit as,popular with aiuliorices as his gifted brothers, was hardly strong enough physically to do thr> fullest justice to Chopin's ".Scherzo in B Flat Minor" (No. 2), hut played a cople of Chopin waltzes with raro delicacy and crispiiess., Mr. F. St. Leger's accompaniments wcro excellent throughout. This evonine; Miss Allan will again summon Cl\opi)i to her aid. She is set down to interpret the "Waltz in A Minor," two mazurkas, and the "Funeral March." She will also impersonate Rubinstein's "Romance in E Flat," and his "Valse Caprice." New items will also bo played by the Chcrniavskys.