THE CHERNIAVSKYS.

Taranaki Daily News, 16 August 1921, Page 5

THE CHERNIAVSKYS.

LAST NIGHT’S CONCERT. It is quite'evident that the advent of the three brothers, Leo, Jan and Mischel Cherniavsky, had been looked forward to with the greatest interest, for they drew a packed house at the Empire Theatre, New Plymouth, last night. It is many years since last they appeared in New Plymouth, and the recollection of previous occasions whetted the appetite in keen anticipation of a feast of music, and their audience quickly showed their thorough sympathy with the artists, following each number with the closest attention.

Their first number was their best concerted performance, and in this realm they may justly claim a very high place in the musical world. The Mendelssohn Trio in C Minor, No. 2. give l ' plenty of scope for each of the performers to contribute a full share of every shade of musical expression and feeling, from the plaintive character Of the opening theme to the fiery impetuosity of the second movement. The whole number was a truly worthy occasion, and naturally elicited a very decided encore, which was an interesting transcription of the Schubert “Moment Musical in F Minor”; but in the realm of pure music nothing came up to the Trio itself, which will live long in the memory. The ’cellist followed with a bracketed number—“Koi Nidrei”. by Max Bruch and ‘At the Fountain”, by Davidoff. Certainly he seemed to get out of the ’cello everything that was possible; the double stopping, natural and artificial harmonies and mixed bowing and pizzicato were something to remember, and whatever he played there was always a faultless intonation and a wonderful certainty in passing from one string to another, showing complete mastery of the instrument. Mischel is indeed every bit an artist. Three pianoforte solos followed.; Chopin “Ballade in A flat”, “Waltz in A flat” by the same composer, and Liszt “Rhapsodie”. Into the first of these Jan threw several subtle varieties of thought that had not been presented at other performances of the work given here, and while they came in the way of surprises, made a very interesting performance. In response to vociferous demands he played a delicate study in the style of a musical box, with the lightest of feathery touch, which was a vigorous contrast to the massive finale of the Rhapsodie, and in itself completely captivated the audience. Three violin solos followed by the other member of the trio, Leo. In the wellknown transcription of the Chopin “Nocturne in E flat” he seemed to get out of tune and very decidedly sharpen, but in the “Capriccieuse” of Elgar and the brilliant Etude of Paganini he left little to be desired in this respect. As one listened to this last number one realised how the concert habitues of a past generation held their breath at the bizarre effects the maestro produced; every possible and almost impossible device known to violin playing is freely employed. A double encore was inevitable, one of which was a very effective “Alla Turca” of Mozart.

The concert closed with two trios. In the first—a romance by Glinka—the accompaniment, taken now by the ’cello and now by piano, made a most weird effect against the solo of the violin. The bracketed number was a brilliant arrangement of a Norwegian dance by E. Grieg, making as marked a contrast as possible to the atmosphere created by the previous number. As an encore they played Boccharini’s well-known Minuet. The accompaniments were played by Jan, with the utmost care, and greatly enhanced the playing of the other two*