THE CHERNIAVSKI RECITAL.

Wairarapa Age, Volume XXXII, Issue 3096, 20 January 1909, Page 5

THE CHERNIAVSKI RECITAL.

To say that the recital given by the talented trio at the Town Hall last evening was a musical treat, is putting it in the mildest of phraseology, ancl the spontaneous outbursts of applause which greeted these "child wonders," as they have been appropriately termed, gave ample evidence that the audience thoroughly enjoyed each and every item. There has almost been a surfit of entertainments of a varied character during the present and last week, and this probably accounted for the "only fair" attendance, but what has been , said and printed concerning the musical ability of the Cnerniavski's has been in no wise exaggerated. From the opening chord of the Haydn trio to the brilliant finale, the performers held sway over their listeners in a way that was surprising. The second movement of the opening trio was superb, the i sustained passages resulting in the production of a body of tone which could not but be convincing. The attack, precision, expression, and intonation was well-nigh, in fact, absolutely perfect. The work of Jan Cherniavski at the piano in this number is deserving of special mention, and disappointment was freely expressed at his not being included in the programme as a , soloist, as it was ±elt that hib performance right through displayed considerable merit. Leo, the oldest of the lads, at once captured his hearers with his beautiful rich tone in • Schubert's "Ave Maria," and when in the bracketed number he passed to Kontski's mazurka, and displayed technique of a brilliant 1 order, they were satisfied that he was indeed a master on that instrument—the violin. His double-stopping, the octaves particularly, and the harmonics, were a complete revelation, and he was vociferously applauded and recalled several times. In the second part his contribution was Weiniawski's "Polonaise," and it was in thi3 number that he appeared to abandon himself to his work and thoroughly enter into its spirit. Executive difficulties entirely disappeared, and the rich, mfllow tone was a treat to listen to. Being recalled, he gave an old French Gavotte, which decidedly pretty. But it wa3 little Mischel who seemed to captivate the audience. The lad seemed to revel in his work, every fibre of his body vibrated, so to speak, as he launched his whole ioui into the various passages allotted to him in t-ios. His tone "is marvellous, his intonation very exact, and the musical temperament is ever present. One could read it in hi 3 little face. Like his elder brother, he rejoiced in passages calling for execution of stopping and harmonics, altogether giving a performance that will nut readily be forgotten. Sulzer's "Suirimer Night," and "Butterflies" were his solo numbers, and in the latter the intentions of the composer were completely realised. He had to submit to an encore, and gave a Gavotte ,by Popper, displaying his ability in p zzicato work. The closing trio by the boys (a) "Dream Sotig" (Kirk), (b) "Moment Musical" (Schubert) brought everyone to such a pitch that they appeared loath to leave, and endeavoured to obtain still more from these wonderful little musicians, but had to be content with the lads merely bowing their acknowledgment ; several times. Mr Percival Driver and Madame Marie Hooton assisted at the concert, the former singing "Glorious Devon," "Betty's Way," and "Simon the Cellarer," but he was at a disadvantage in having to play his own accompaniments. Madame Hooton has a pleasing voice, her numbers being Stutzmann's "Russian Love Song," "The Dumb Wife," and, in response to encores, she sang "John's Loveship," and the evergreen "Ash Grove."