Still a Russian But Not Bolshevik

Sun (Auckland), Volume II, Issue 382, 16 June 1928, Page 10

Still a Russian But Not Bolshevik

MOISEIWITSCH RETURNS MUSIC IN THE EAST <4 Y es, I am still a Russian at heart—but not a Bolshevik.” stated Mr. Benno Moiseiwitsch this morning. The famous pianist who arrived at Hotel Cargen last evening from Rotorua said he could no more change His country than he could his religion. It was simply a part of him, Mr. Moiseiwitsch. who is making- his reappearance in New Zealand under the direction of Messrs. J. and X. Tait, told a Sun representative that he left Russia when only 13 years of age and his recollections of the country naturally were not very vivid. So it was not even his memories that were responsible for his loyalty; it was something deeper. Regarding conditions in Russia today he said that from what he could learn there were signs of a rejuvenation for Russia. Several of his artist friends, not Russians, had visited Leningrad and Moscow within the last two or three years, and had played to packed houses. RUSSIA STILL ARTISTIC Invariably they had gone back a second and third time and had been wonderfully received, and most hospitably entertained. From all accounts the culture of the arts—music, the drama, dancing, etc., —was being actively pursued under the Soviet regime.

One of the most promising composers of the present day was Prokofieff, who was famous in Europe and America, and whose operas, symphonies and pianoforte concertos had been heard in New York and Paris. Prokofieff was only 35 years of age, and most of his work had been done under the influence of the Soviet regime. Then there was Metner, a. pre-revolution composer, who was still doing good work.

An interesting account of the growth of European music in the East was also given by Mr. Moiseiwitsch. Following in the footsteps of Kreiisler, Heifetz and other of the world’s leading musicians he made a contract for a tour of the East last year. After giving concerts in Java, he played at Singapore, Hong-Kong, Tientsin, Peking and Shanghai, and later the chief cities of Japan.

His agents had been dubious about recommending the visit to China on account of the civil war, but it did not seem to be so serious an affair close up as it did from a distance, and the tour had not been interfered with in the least on account of the strife. Although in China a great deal of interest was not taken in European music he found things very much different in Japan. In Tokyo Mr. Moiseiwitsch discovered that the unalterable rule was that for the first 25 days of each month, a theatre "was devoted to drama, and for the other five or six days the company rehearsed the next month’s plays, and it was only on these days that musical performances could be given. THE CLASSICS IN JAPAN

“All my recitals were packed with audiences, 95 per cent, of whom were Japanese. Used to six or seven hours of drama at a stretch, they submitted a four hours’ programme for me to play. This was impossible, so I cut it down by half. But what- was more extraordinary still was that one had to make no compromise—the programmes were as standard in solidity and classical worth as one could play in London, Berlin or Leningrad. After the recitals many Japanese students would come round to my room, each clasping an album of Beethoven, Chopin or Schumann, desiring me to autograph the compositions they had heard me play.” While he was there he also heard several students of the pianoforte who played many of the classics very well. Several Japanese singers were also appearing in grand opera in Europe and America and doing very well.

Mr. Moiseiwitsch gives his first recital at Auckland on Tuesday, and on Wednesday evening he will be given a reception at the Lyceum Club by the Auckland Society of Musicians.