Young Midas
ADURA-SKODA again, of course, atid what an adimitablé aftist he is! I[ listened intently to his all-Mozart programme last week, and found much of it purest gold. His control of tone is exquisitely sensitive, yet it rarely goes beyond forte; the rarige df dynamics he employs from pppp to f seems vast. The Adagio in B Minor has a siipérb gravity, and the Sonata in A Major a_ sparkling lyricism and Viehnese charm. And how pleasant, for once, to hear the Alla Turca played, not as a doll’s quickstep, but as a march. The great Fantasia atid Sonata in C Minor are rarely played together on concért programmes; I cannot recall hearing them since Lili Kratis gave her still memorable account in 1946. Badura-Skoda employed the (continued on next page)
whole range of his enormous musical intelligence to illuminate this splendid brilliance of the elliptical, enigmatic final movement. I lack space to cover the Bartok concerto and the incredibly seductive Chamber Music programme. In the meantime, my warmest congratulations to an outstanding artist.
B.E.G.
M.
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New Zealand Listener, Volume 35, Issue 886, 27 July 1956, Page 30
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177Young Midas New Zealand Listener, Volume 35, Issue 886, 27 July 1956, Page 30
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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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