MOISEIWITSCH’S ART

Sun (Auckland), Volume II, Issue 387, 22 June 1928, Page 15

MOISEIWITSCH’S ART

AUCKLANDERS’ APPRECIATION ROMANTIC AND CLASSICAL MUSIC It was gratifying to see such a large and appreciative audience at the Town Hall last night when the famous pianist, Benno Moiseiwitsch, gave the second of his three recitals; evidently musical Aucklanders are awakening to the fact that an artist of the front rank is in their midst. A fine programme of romantic and classical works was presented with the authority and artistry of a master —ahd never for a moment did the magnetism of Moiseiwitsch fail to hol% the attention of the listeners. Mendelssohn’s well-known “Andante and Rondo Capriccioso,” which opened the proceedings, was played with a warmth and freshness wholly delightful. The Andante was most expressive, the “Rondo” wonderfully neat and sparkling, and the double octave coda a perfect dazzle of brilliance. The big work was Beethoven’s “Moonlight” sonata, which was given with much taste and judgment. The tone was particularly liquid, though a trifle robust now and again, in the pale and reflective Adagio, but the serene atmosphere of the movement was beautifully conveyed. The Minuet was a model of grace with its fegfito and staccato contrasts and lilting rhythm, while the vigorous syncopated Trio went with great vim. Many familiar Chopin works were played with an abundance of charm and imagination—particularly the smaller pieces. The “E major Study” and the “E> flat PrelLide” were well nigh impeccable, and the “Fantasie Impromptu” in C sharp minor was entrancing, especially the cantabile middle section, where one or two delicate decorations were introduced. The splendid “Ballade in G minor” was perhaps the least convincing of the group The introduction and initial subject seemed slightly lacking in character and nuance, while the massive climax of the second great theme seemed to demand a rather more spacious style than it received. The “summing up” of the story in the difficult and dramatic coda was very intense and virile. Welcome novelties included Medtner’s “Fairy Tale” in E minor, an attractive little piece, and Prokofieff’s “Suggestions Diaboliques”—an original modern work which does not belie its title. It is very effective and was repeated, as was Liadoff’s charming little “Music Box,” which the pianist invested with a delightful old-world style. The popular A flat “Liebestraum” (No. 3) of Liszt received a romantic and passionate reading—the ending was extremely poetic and moving. Tansig’s arrangement of Schubert’s “Military March” concluded the programme, and exhibited to the utmost, in its bravura passages, Moiseiwitsch’s amazing technique. The audience was roused to tremendous applause and the pianist responded with several delightful extras. The last concert takes place on Saturday evening when a programme which includes the “B flat minor Chopin Sonata” and Schumann’s “Symphonic Studies” will be played. S.K.P.

Louis Wolheim has turned from his villainous roles to become a hero in “Tempest,” the United Artists’ story of modern Russia. John Barrymore has the leading role, with Camilla Horn playing opposite him.