THE CHERNIAVSKYS

Sun (Auckland), Volume I, Issue 297, 7 March 1928, Page 15

THE CHERNIAVSKYS

AN ENJOYABLE RECITAL The appreciation in which the Cherniavskys, Leo, Jan and Mischel, are held by Auckland musicians was evidenced last evening, when despite most discouraging weather conditions, there was quite a satisfactory attendance at His Majesty’s Theatre for the second concert of their season.

Mischel Cherniavsky opened the pro gramme with Beethoven’s Sonata for piano and ’cello, No. 3, Opus 69, one of the master’s earlier works. The number was well handled, particularly good being the dainty treatment extended to the scherzo, suitable contrast also being provided in the heavier work of the brief adagio cantabile movement following. A difficult accompaniment was well played by Jan. An extra being insistently demanded, the ’cellist contributed the “Minuet” of the same composer, a dainty offering being treated with gossamer lightness. Cesar Franck’s sonata in A minor for ; violin and piano served well to exhibit the musicianly and artistic qualities of Leo Cherniavsky. In direct contrast to Mischel, whose countenance is always animated while playing, Leo possesses a somewhat taciturn expression, in some respects reminiscent of Heifetz. Temperament, however, is not lacking, this quality being convincingly demonstrated in the soaring climax of the final allegretto, in which, incidentally, intricate technical difficulties were passed over with disarming ease. His extra number, Chaminade’s dainty “Serenade,” was exquisitely played on muted strings. His tone, broad an*j warmly coloured, was always satis- j i fying, and clean, incisive bowing left 1 | little to be desired. In restraint and j | command Leo is undoubtedly superior.

The big number for the trio was Tschaikowski’s Trio in A Minor. Tschaikowski, who indeed possesses in a very marked degree the Russian gift of being melodiously sorry for himself, wrote the trio as an elegy on the death of his friend Nicholas Rubinstein. It. is eminently suitable to the Slavonic temperament of all three players, and its tense emotion, particularly in the very expressive finale, found full expression. The contrast in the 11 varia-

tions of the second movement were effectively presented. As accompanist, Jan again proved a tower of strength to the combination. Pianoforte students would perhaps regret his non-appearance in a solo number, but would doubtless appreciate the particularly heavy task demanded of him in the selection of the other solo items and also of the Tschalltowsky trio. The final recital will be given tomorrow evening.