WONDER BOY-PIANIST

Sun (Auckland), Volume II, Issue 489, 19 October 1928, Page 14

WONDER BOY-PIANIST

CHERKASSKY’S BRILLIANCE TEMPERAMENT AND TECHNIQUE The wonder boy-pianist, Shura Cherkassky, gave the lirst of his recitals at the Town Mall last evening before’a most enthusiastic and critical audience of music-lovers. The exacting programme was framed on fairly orthodox lines, and was interpreted with amazing skill and intelligence by this extraordinarily talented youth, who bids fair to become one of the worlds foremost pianists. Equipped with ah astonishing technique capable of any demands made upon it, a keen sense of rhythm, form and tone colour, a mature style and no little magnetism, Cherkassky held his delighted listeners completely under a spell throughout the evening. Occasionally the exuberance of youth seemed to tempt the player toward rather too sudden contrasts in tone colour, volume and tempi, and also unnecessarily to emphasise a melodic line, but after all these points gave a certain spice to the playing. Liszt’s arrangement of Bach’s “Organ Fantasy and Fugue in G minor” began the programme, and was played with great skill and vigour, rising to a magnificent climax, while the texture of the l'ugal part writing was excellently portrayed. In Beethoven's famous “Apposionata” Sonata the pianist displayed an unusual intelligence and musicianship, and his reading of the great work bears comparison with that of many of the most distinguished players of to-day. The first movement was well balanced and deeply thoughtful,, and one’s interest was firmly held till the closing bars of the magnificently played coda. The variations of the second movement were very deftly performed with some original effects, but it was in the fiery final movement that Cherkassky was at his finest. Rarely has one heard the movement played with more abandon, passion and brilliance; it was a noteworthy feat. The inevitable Chopin group contained some good things which were well done. The “Barcarolle” was played with a nice melodic line in which the Italian spirit was clearly evident. The “E major study” displayed nice tone, but was a little erratic in tempo in the first section. The “Scherzo in B minor” was a splendid performance, virile and arresting, while some fine tonal effects were obtained in the_ soulful middle section. A brilliant presentation of the “Black Study” was added as an extra. Hofmann’s clever and difficult “Kaleidoscope” was vividly played, and Debussy’s “Reverie” brought out unsuspected poetic talent in the youthful player. Rachmaninoff’s vigorous “Prelude in G minor” received a masterly performance. A splendid rhythm was maintained in the main subject, and a beautiful tone and legato in the cantabile section. In Liszt’s popular “Liebestraum in A flat” the melody seemed at times a little forced, but the cadenzas were quite dazzling in their brilliance. The Strauss-Elver setting of the “Blue Danube Waltz,” a famous show” number, quite electrified the audience. The work was given with remarkable gest and buoyancy, and displayed the performers astounding technique to the utmost. Three encores were demanded before the audience would leave the hall. A fine programme has been arranged for Saturday night, when this brilliant young artist gives his second concert. S.K.P.