THE CHERNIAVSKYS

Dominion, Volume 8, Issue 2439, 19 April 1915, Page 7

THE CHERNIAVSKYS

THREE BRILLIANT MUSICIANS

Those musical representatives of our honoured ally, Russia, the Cherniavskys, made a welcomo reappearance at the Concert Chamber on Saturday evening before an audience that filled nearly every seat, and in tho courso of a delectable programme succeeded in establishing an increased measure of respect and admiration for their abounding talent. It. is no ordinary talent, for each of these artists, still youthful in years, is possessed not only of a striking technical facility in the management of the instrument of his adoption. but each of the trio has a fiery temperament, well under control, 60 that the ensemble effect could not bo more exhilarating if the works were being played by a medium-sized orchestra. And tne reason for tho 6weep•ing uplift that the Cherniavskys achieve in their trio work—as tliey did for example, in the Mendelssohn trio in Saturday oveuing—is that trios in ordinary come together casually, and are content to risk their reputations on the platform after one, or, at the outside, two rehearsals. With the Russians the case is different. Music is not only their work—it is their life and joy, and when they play together there is a sensitive unity of spirit that can only bo produced by the closest association and continual rehearsal. Unfortunately we hear little trio and quartet playing in this part of the worla, which should make the visit of these •people all the more precious. The Mendelssohn trio (No. 1) was a rich delight from beginning to end.' The first movement, molto allegro ad agitato, is furrowed by waves of passionate melody and gorgeous ha-r-Bionies which gave the artists ample opportunity to display their technical mastery and rare temperamental qualities. The serenity and restfulnoss of the andante movement was like a calm after the storm. Restraint was there, absolute unanimity, and purity of tone. Then came the laughing, dancing scherzo, impish, curious, ana even grotesque, but vital and interesting ever, played, too. with marked verve and delicacy. Tne finale allegro assai appassionata is marked by a beautiful continuative passage for the violin and 'cello, which was played with unbroken suavity and oharm. The culminating crescendo was brilliantly attacked and sustained. The billow of applause that followed was thoroughly well deserved. The other pieces played in trio form were lighter in character, but were none the loss pleasing. Widor (the wellknown composer for the organ) was represented by his "Serenade, the air of which, first given out by the 'cello, was charmingly played. In the same bracket was the merry, elflike "Moment Musical" of Schubert, and one of Brahm's familiar "Hungarian Dances," which revived memories of Miss Maud Allan, with whose floating figure in the dance tho Cherniavskys were associated in New Zealand only a y6ar ago. An imperative encore produced the "Barcarolle" from "The Tales of Hoffmann" (Offenbach), surely a concession to popular taste. Tho bracket showed the trio as masters of accent, indeed, so sure are they in this regard that they are inclined to overemphasise at times and sacrifice inusio for effect.

Of the" Cherniavskys, Mischel, the 'cellist/ stands forward as the" dominant artist. He was a wonder as a lad on a llalf-size instrument, but the years have .broadened his tone and given altitude to his art, and no 'cellist heard here since Gerardy can compare with this artist. He possesses a splendid instrument, which produces a tone as sonorous aild tremulously sympathetic as a diapason _ stop on a grand organ. Permeated witli the vital temperament, a nice delicacy of touch, a mastery in harmonic playing, Mischel Cherniavsky, master of himself and his instrument, can master any audience. He appealed to them through the medium of Goltermann's Concert (Opus 44), a magnificent work of great technical difficulty, and as an encore played Schubert's "Woigeh Lied," played with exquisite tenderness on the muted instrument. Jaoi Cherniavsky, tho pianist of the trio, is called upon to do more work than his brothers, inasmuch as he is essential to every item on the proframme. And what a delightful pianist e is! This artist—the word is used advisedly—is not over-graceful at .the keyboard, but what matter how he looks, so long a 6 he gives life and character to the music, and that he does to the fullest satisfaction. His style is delusive, as one is led to expect a lack of power, and is consequently amazed when he founds the keyboard as though armed with the hammer of Thor in the opening chords of Chopin's commanding "Scherzo in B Flat Minor," which was treated with rare artistry and restraint. He also suggested the cool placidity of night in tho same composer's "Nocturne ill D Flat." The "Studio" (No. 3) in the Chopin bracket is bizarre in character and form, and was played with delightful crispness. The soloist had to odd-the Chopin Waltz in G flat to appease the hunger for more. Tho third member of the trio is Leo Cherniavsky, who is a very interesting player, but hardly one that would be included in tho virtuoso class. He has the same warm temperament as his brothers, but hardly surmounts difficulties with the same effortless ease, and there is an occasional tendency to stridency in his tone. This was noticeable in the Vieuxtomps' "Concerto" (No. 4 in D minor), which is a work beset with difficulties, and is purely a display piece for technical skill, and to the unaccustomed ear at all events is deficient in melody. The violinist, demonstrated his power of appealing to the heart in a beautiful "Berceuse" by Townsend, a gem for the muted instrument, to which still another number had to be appended. The audience was enthusiastic throughout, and with sufficient cause. It was » concert that appealed to the musiclover as well as the musical, and no one could fail to bo interested, whilst the majority were fascinated, by the art of the Russians. The next recital will be given on Wednesday.