CHOPIN RECITAL

Dominion, 14 March 1919, Page 6

CHOPIN RECITAL

« MISS ESTHER USHER'S TRIUMPH. Of Miss Esther Fisher's first pianoforte recital iji Wellington last September it was said in these columns: "It was patent to all that this mere fiirl was mistress of the keyboard, that in her were tho possibilities of eminence as a pianist." That opinion was reaffirmed by Miss Fisher's mastery of a Chopin programme last evening. Most professional pianists liavo an extensive Chopin repertoire, acquired after years of close study and ceaseless practice. Perhaps the greatest exponent of the Polish composer is Vladimir de Pachmann, beloved by the- Londoner as, much for his vagaries as for his undoubted, skill in idealisation; but there are not many pianists in Wellington of Miss Fisher's years who possess such a knowledge of Chopin, combined with technical brillianoe and deep intelligence. Wellington, therefore, is fortunato in having produced a solo pianist of such abounding promise that this- fair young player undoubtedly gives. It was with some trepidation that one glanced down the imposing array of symphonies, ballades, polonaises, etudes, nocturnes, and preludes which figured on her programme last evening. There was no need for anxiety. Miss 1 Fisher, _as composed as any experienced recitalist, was not only equal to all demands—and they were many—but was mistress of herself, which is a "very different matter. Her memory is faultless, her technique is advanced, and the interpretation of the composers every mood found her responsive to a surprising extent. She may not as yet possess those rare qualities of temperament that go with greatness and move audiences to wild enthusiasm, but the foundations of such virtues have been truly laid. Miss Fisher should go far, with the spur of ambition to help her. As an interpreter of Chopin, she possesses all tilie necessary attributes—a clean touch, amazing speed, a wealth of well-controlled expression, and the pedal sense. Onewould imagine by tho way slio interpreted the changing moods so graphically depicted in the Sonata in B Minor" that it was an old and well-loved book to her. The brilliant contrasts in the allegro maestoso movement, with its beautiful song-like melodies placed in elegant relation to tho flood of florid arpeggios, wero very skilfully played. Miss Fisher has developed tone since hor first recital.. That was evident in the many cantabile passages, so favoured by Chopin as a relief to Ins cascades of dazzling harmonies. Ili e Scherzo was played at a prodigious speed, yet with a firmness and delicacy pleasing to record. She was inclined to play jhe largo a little too funereally, but the finale was interpreted with a proper seiv-e of buoyant exhilaration. Following the "Sonata," came the "Impromptu in i Sharp Major," a lovely composition .111 every way. Tho "churchy" luirnionies of the opening are very beaut.ilul 111 their suggestion of tho banner-hung cathedral; then follows a solemn march; and finally a maze of lustrous opalescent runs, and quaint harmonies that were surely an ■ inspiration to the late Claude Debussy. Three graceful "Etudes" suceeedwl—lll G . sharp minor, E major, and 0 mines'. It one might state a preference it was for I lie E major study, which was played with mucli lender feeling and subdued charm. Chopin composed what is probably the sweetest "Berceuse" for the pianoforte the world knows, and Miss j Fisher played it like an artist. The programme also included the showy "Kanlnisio in V Minor," and the familiar "Ballade in F .Major" (so frequently murdered by tho unfledged) and lent reliui'inenl and the grace of understanding to both works. Tlireo "Preludes" (in I'' major. B flat major, and G minor) were plavod with cameo clarity and beauty. "Finally Miss Fisher, perhaps a littie tired, rattled, through the "Polonaise in A Flat Major" at, great speed, and was acclaimed by an audience that really appreciated the rare talent of the . young recitalist.