THE CHERNIAVSKYS

Evening Star, Issue 19797, 22 February 1928, Page 3

THE CHERNIAVSKYS

THREE GIFTED BROTHERS A WELCOME REAPPEARANCE As far back as 1901 the three Cherniavsky brothers—Leo, Jan, and Mischel—began their tours as a trio. Since then they have ranged every quarter of tho globe. On the occasion of their first visit to Dunedin in 1908 they were spoken of as “ remarkable youngsters.” At that time they were associated with Marie Hooton (soprano) and .Perceval Driver (baritone). Their subsequent tours through the world have earned them a foremost place in the ranks of leading musicians. They have given recitals in this city at various intervals, and made a welcome reappearance in His Majesty’s Theatre last evening as mature artists with all the equipment of virtuosi at their command.

Now their art is fully developed, and shows that they have.amply fulfilled the promise of childhood and boyhood. As a trio they must bo judged, but their individual merits must also be considered, for each of them is a master of his particular instrument. To bear them individually is indeed a pleasure. To bear them together is an experience to be remembered. They build up a fascinating tone play with a simple and balanced sense*of its musical meaning. Strikingly individual though they are as artists, their sympathy and understanding as a trio arc greater still. From early childhood they have practised together, and it is not too much to say that there arc few musicians alive to-day who combine so perfectly. An innate artistic feeling, combined with fluency, skill, and mathematical precision, has made them what they are to-day. Leo is the violinist, Mischel tho ’cellist, and Jan the pianist in the trio. It is difficult to single out any ot them as the outstanding soloist, as each combines the artistic qualities of many schools.

The first number presented last evening was the * Trio in C Minor ’ (Brahms), and it at once created a favorable impression, which steadily increased as the programme proceeded. The artists caught the varying moods of the four movements of the trio with fidelity. The three instruments were in perfect accord. The tone of the strings might have come from one instrument in the first movement. Leo especially played in a masterful style and with brilliance, without at any time obtruding. In the second movement the pizzica'to bars were exquisite, both of the stringed instruments subordinating themselves to the beautiful melodic theme from the piano. As an encore number the threadbare ‘ Moment Musicale ’ of Schubert was transformed into a tiling of beauty. The muted strings provided rare delicacy of tone, and a perfect balance and unity were maintained.

Mischel, the ’cellist, plays with the soul of an artist. His first group of solos stamped him as a ’cellist of extraordinary brilliancy. Remarkable depth of feeling was revealed in Tschaikovsky’s 1 Melancholique,’ the surging richness of the lower notes being indicative of unique interpretative powers. In striking contrast came the abandoned ‘ Serenade Espagnole ’ (Glazounow), and then the eerie antastic ‘ Dancfe of the Elves ’ by the great ’cello master Popper. His encore numbers were the dreamy ‘ Old Refrain ’ (Kreisler) and ‘ Tho Butterfly,’ a dainty air also by P.opper. Mischel has superb technical and tonal control over an instrument which is obviously part of himself. His peculiar “singing” tone is free from tho blemishes of harshness and rasping. Leo has n_ strong and supple bow, and bis tone is large and authoritative. Double-stopping, harmonics, little pizzicato explosions—all the weapons in tho violinist’s armory—he uses with tireless agility. He combines tenderness and power, and plays with a magnetic and individualistic touch. Clear, facile execution and depth of expression were evident in the reflective passages of Joseph Achron’s noble ‘Hebrew Melody ’ and in the - ntroduction and Rondo Capriccioso ’ (Snint-Snens). His first encore was ‘Frasquita. ’ (Lcliar-Kreisler), a sugary trifle. He displayed grace of style in other recalls, ‘ Canehrakc ’ (Gartner) and a mazurka by Chopin. Jan Cherniavsky is an exceptional pianist. His technique, brilliancy, power of tone, and delicacy of touch struck the listeners in turn, while his sense of rhythm and phrasing wore alike conspicuous. A Chopin group, the ‘ Nocturne in D Flat,’ the ‘ Ballade in A Flat,’ and two .small studies, were each invested with a separate character in complete harmony. On being recalled he played a Chopin mazurka and the ‘ Scherzo ’ hy Martucci, both of which gave ample scope for his executive ability. Jan bore the brunt of a heavy evening. His accompaniments contributed materially towards tho charm of the other two soloists’ items. The three artists wore again associated in tlie trio, ‘ Vienniese Vaises’ (Ed. Seliutt), a composition in three movements. The playing was all one could wish for, delicate and refined in the quieter parts and fiery in the animate passages. The artists were insistently recalled, and concluded the recital with ‘Minuet’ (Boccherini) and ‘Ah the Brook’ (Do Boisdetfre). Tho Cherniavskys will_ he appreciated hy all who are discriminating in their musical tastes. The next recital will be given to-morrow evening.