Lili Kraus in Dunedin
AVING exhausted my adjectives on various performers and composers in the course of writing these notes, I now find to my chagrin that I have no words left for the playing of Lili Kraus. Perhaps that is just as well, since she is so different from anyone else we have heard that it requires a newly-minted wordcoinage to put her personality on paper. Radio listeners who failed to attend her personal appearances in Dunedin know only one aspect of this versatile artist, as anyone will testify who has seen as well as heard her when she is playing. As far as the 4YA studio broadcasts were concerned, for me the highlights were the Bach and Mozart, played with such beauty of tone, clarity of notation and subtlety of phrasing and nuance as to leave one with an entirely new ‘conception of the works. What we have most to thank Lili Kraus for is her introduction of Mozart as a living, breathing composer, instead of the museumpiece he appears as performed by most pianists. She has demonstrated also that a programme can be intensely exciting without being overloaded with compositions from the Romantic period, and that those programmes are not necessarily lacking in an essential element if Chopin’s works are omitted (for this relief, much thanks!).
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New Zealand Listener, Volume 15, Issue 371, 2 August 1946, Page 10
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219Lili Kraus in Dunedin New Zealand Listener, Volume 15, Issue 371, 2 August 1946, Page 10
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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