The Week's Music...

New Zealand Listener, Volume 36, Issue 922, 12 April 1957, Page 24

The Week's Music...

by

SEBASTIAN

HEN a visiting artist is favoured with a blaze of official advance publicity, we are led to expect a perfection of artistry. It may be something of a gamble; but if the glowing notices draw us to hear a really first-rate musician, we can be grateful for them. So it was with Ricardo Odnoposoff, on tour in this country with a lovely violin and a fine accompanist (YC links). He received adulation in his Australian tour, and has repeated the process here; for he has a warm and captivating tone, a wonderful technique, and a wealth of material in his repertoire which can literally satisfy all tastes. With the National Orchestra, for instance, he played the Tchaikovski Concerto, a work of immense difficulty that can be most rewarding; so often one hears the taxed violinist assaulting his part with a resulting hard tone, so that however brilliant it is, one has to make a distinct effort to listen. Here there was a smooth and easy playing that concentrated on the musical values rather than the showmanship; and the Orchestra, somewhat subdued if anything, interfered not at all. To his solo recitals Mr Odnoposoff brings the same polished but thoughtful approach, and more tenderness at

times since here he is on intimate terms with his audience. Particularly lovely was the unaccompanied Sonata of Geminiani, in which the lilting rhythms and flowing double-stops mingled in brotherly concord; and no less powerful the G Minor Sonata of Bach given with the’ sureness of long familiarity. The Vieuxtemps Concerto No. 5 was a complete contrast, in its technical achievement and lighter touch; and to show that all is grist to his mill, the violinist included in the recitals short pieces ranging from Mozart to the modern Spanish field, with equal aplomb and appeal. I would not go so far as to say "I shall not look upon his like again," but he must be included among today’s great violinists. His pianist, Raymond Lambert, is a soloist in his own right, and also gave recitals. I commend his playing of Franck’s Prelude, Chorale and Fugue for its fine sonorities, though it seemed a trifle cold-blooded in places; while Liszt’s "Fountains at the Villa d’Este" was a perfect blend of virtuosity and mood-feeling. He is a musician, take him for all in all, and I think any soloist would be grateful to have him as an associate,