MASTER OF VIOLIN

Sun (Auckland), Volume I, Issue 133, 26 August 1927, Page 14

MASTER OF VIOLIN

AUCKLAND ACCLAIMS HEIFETZ A PERFECT TECHNICIAN It is given to few artists to be accorded a reception such as Jascha Heifetz received last evening. His reappearance after an absence of some years has been eagerly awaited by music-lovers. As a youth of 14 Heifetz was acclaimed technically perfect, and though the world of music has dealt harshly with so many younger prodigies, oblivion having claimed the great majority, Heifetz, equipped with perfect technique, and tone of rare ethereal beauty, soars to the empyrean of his art. Now, would it be too much to ask of so great an artist that we have a change from the only too familiar numbers of this first programme? The Mendelssohn Concerto has been played by every violinist visiting these shores. It is realised that few concertos will bear the test of being accompanied by piano alone, but in view of the local conditions, would it not be permissible to present some concerto other than

the Mendelssohn as a welcome relief —perhaps the Beethoven, Brahms. Elgar ? The programme opened with the Vitali - Charlier “Chaconne.” The nobility of the opening theme was portrayed with a breadth that formed a fitting groundwork on which to build the ensuing variations. Both the grace of the triplet figures and the lightlyflying arpeggios were portrayed with delightful ease. The final return, in chords, of the theme brought a masterful work to an end. The first movement of the Mendelssohn Concerto is very typical of this composer. Its very tunefulness forms a dangerous pitfall. Heifetz showed that technical difficulties simply do not exist for him. Such an interpretation is one to be remembered. The andante, described by Joachim as “a thing of pure beauty,” and yet so often ruined by mere sentimentality, was characterised by dignity and clarity of tone. The final movement, “Allegro Molto Vivace,” was distinguished by the stress put on the “Molto.” This movement, so full of difficulties, was taken at a pace that should surely belong to Heifetz alone. The flying staccato passages that cause so much sadness to violinists came out with uncanny precision. It is perhaps debatable whether this finale was intended by the composer to be a test of virtuosity—certainly as played last night it was an amazing feat. In addition the following were played as bracketed numbers:—“Ave Maria,” Schubert-Wilhelmj—a perfect piece of octave playing; “Minuet,” Mozart; ; “Nocturne in D major,” Chopin; “Perpetuum Mobile”—this.a wonderful display of spiccato bowing and left hand technique “Melodie,” Tschaikowsky; “La Rondes des Lutnis,” Bazzini. This last-named piece, simply bristling with difficulties, has rightly become Heifetz’s own. The accompaniments were played with great distinction by Mr. Isidor Achron. It is very unusual for a soloist to get so much support from his accompanist. H.B. Natalie Kingston, who plays one of the leading roles in the Master picture, “Lost at Sea,” co-starring Jane Novak and Huntley Gordon, was formerly the premiere dancer of the “Broadway Brevities' show. In addition to doing a particularly daring dance in the picture, Miss Kingston shows unusual histrionic ability in the difficult role she is appearing in. Others in the splendid supporting cast of this proSt andin^ 1 * 6 Lowell Sherman and Joan