THE CARRENO RECITAL.

Gisborne Times, Volume XXV, Issue 2164, 21 August 1907, Page 2

THE CARRENO RECITAL.

To say that Madame Carreno delighted the rnedinm-sizod audience which assembled at the Theatre Royal last evening conveys but a mild reflex of tlie great impression which her talents made upon her hearers. For close upon two hours tho audience sat enraptured, entranced almost, us tho great artist seemed to talk to tho keys and coax from them tho very soul of music. Madame is not only a great pianist. Her distinguishing merit is that whilst satisfying tho cnitioal slio also elucidates for tho benefit txf tho general public. To understand and appreciate her playing it is not necessary to be a student. The audiolice sat down somewhat critical of the lioralding praises which preceded her. Long before tho superb artist had finished her first piece, tho “Appassionata Sonata,” apprehensions of every kind were dispelled, and her hearers recognised that indeed tho first visit to Gisborno of a player of world-wide celebrity was in verity the treat predicted. And what can one say of tho finest classical programme ever submitted to tho public of this district P It is the fault of Madame’s genius that criticism can only be appreciation. The pent-up enthusiasm after each exquisite selection loft “no possible shadow of doubt, no possible doubt whatever,” as to the opinion, of tho music-loving public. “The princess of pianistes” adds to the masculino virility tho indefinable feminine instinct, and the result is atn ss, not only of art hut of tomperann nit. Of course her technique is the perfection of virtuosity, hut this is forgotten iu the shadow of her splendid soul. It is hard to discriminate among her perfeotnesses. Tho color effects she secured and tho tenderness she won from intricacy are not to be explained. They a o part of her playing. It is not necessary to analyse Carreno’s play ill - to do so would be an unending appreciation in which superlatives would run short. Touch, tone, and technique were full of spirit, and there wins not even a mannerism nor an affectation to rob her passionate sensitiveness of its charm. Her attitude at the piano indicated repose and confidence, and her action is quite free from peculiarities, if the masterful toss of the head in the fortissimo passages be excepted. The recital opened with Beethoven s'oonata, op. 57, known as the “Appassionata.” Tho delightful grading of tho crescendos and diminuendos, the absence of surprise effects, the symmetry of the interpretation, the infallibility of the technique, and above all the sure touch that preserved the singing tone as truly in forte as m piano—these were noticeable features of an exposition that entranced the musicians and kept firmly riveted tho interest of all present. The a-llegro assai of the sonata was a graceful poem, tho andante con moto a prayer, and the closing movement, with its brilliant presto finale, was a cry from the stars. The difficulties oi this sonata are so great that probably tbo performers of it could be counted on the fingers of both hands. Next there were four grouped works by Chopin. The “Prelude,” a beautiful but little-known selection to amateurs, was made very simple and understandable, the even value of the notes being most noticeable. x lie “Nocturne” (op. 62), a piece that is not often played in public, also claimed attention for the fine tone and the way the fingers -touched anil released tho keys, whilst the variations for tho right hand proved the performer’s wonderful skill in OXGCIl — tion. But the familiar “Etude ill G flat” took tlio fancy of the audience to an oven greater degree, perhaps because they' recognised the study a.ud iu a measure understood" it. Though taken at ail amazing pace every note was well made and in perfect definition, there being an absenco of blur. Salvos of applause signified a wish to hear it repeated, the artist graciously' consenting to a repetition. The concluding “Polonaise in A flat” (op. 53) ranks as one of the most difficult written by Chopin, and its interpretation was invested with such brilliancy and warmth that an encore was demanded, and an additional number given. The Rubinstein “Romanza,” which opened the second half of the programme, was a study in subdued tenderness, and the “Barcarolle,G major, a dainty and graceful relief. Then followed “La Oampanella,” a conipqs'ition originally written for the violin, and played liy tho famous violinist, Paganini, as adapted for tho piano by Liszt. The boll-like tinkle requires tho acme of technique in such a comprehensive scale. Madame Carreno plays the opening of this great coinposition a trifle slower than usual, and works up a contrast by quickening the time towards the end. She also gives a very' long double shake, and this is embellished with tlio loveliest diminuendo one could wish to hear. The enthusiastic audience gained a further encore. The closing Liszt bracket was another illustration of what the piano is capable of at tlie bands of sucli an executant. The “Soilnotto del Petraroa” was incasing, and Liszt’s_“.Etude in D flat” became a composition of living grace. And the last item, the sonorous “Rhapsodic Hongroise,” one of the most tuneful and interesting of the series, enchanted the audience, the bravura passages being brought out with marvellous precision and force, and the tone power of the instrument being demonstrated almost beyond conception. In response to ail undeniable encore, Madame, despite tlie groat physical strain already imposed upon her, obliged with the TausigSchubert* “Marche Militairei” This composition, alternately forciblo and delicate, brought a most memorable evening to a close.