MAUD ALLAN AND THE CHERNIAVSKYS.

Auckland Star, Volume XLV, Issue 133, 5 June 1914, Page 6

MAUD ALLAN AND THE CHERNIAVSKYS.

It is not given the majority of people, by training or special gift, to fully understand and appreciate the spirit of the mes—ige -breathed by the great masters of nmsic into their compositions, but the interpretative dancing of Maud' 'Allan —-ust have done m-uch to make it p—-ini to -many Auckianders that the musical compositions! of Chopin, Mendelssohn, and Rubinstein mean something —ore than a merely accidental concentration of sweet notes- and chords. There was unmistakable evidence in the applause of the large audience at His Majesty's Theatre last night that many of them followed the interpretations as Miss Allan danced, the spirit of joy, sadness, ecstasy, and other lesser emotions, transmitting these emotions into actuality, in natural interpretation of tlie music which accompanied her dancing. In Chopin's "Funeral March" the interpretation was 6tartlingly vivid, but the audience obviously preferred l the gay spirit of Offenbach's boat song from tire "Talcs of Hoffman" suite.

The three Cherniavsky brothers again played gTPmdly throughout a long programme, and after every appearance the gifted Russian trio were the recipients of hearty manifestations of pleasure from the audience, and had to play more solos. Their music to Miss Allan's movements proved exceedingly enjoyable. There was always a sympathy between them which was delightful to witness. Very charmingly played were the Chopin mazurkas and valscs. and much bravura was displayed by Jan /Cherniavsky in his performance of Rubinstein's "Valse Caprice." He also overcame the intricacies of Chopin's "Grande Polonaise," Op. 22, in masterly fashion. The "Andante Spianato," representing a pondola outing on a still moonlight evening in springtime, was performed in a beautiful legato style, the rich embellishments of the right hand were of delightful singing timbre, and executed with the utmost ease and lightness, and the subdued and undulating arpeggios by the left hand glided smoothly along. making a charming base to the liquid cantabile of the melody. The Polonaise proper was played with great bravura, tlie ponderous harmonies and chortjs were executed with mighty power, the octaves were delivered with freedom of wrist, and the passages of sixths and wide extensions were clearly exposed, and served admirably to display the virtuoso's technical skiil, and kept the listener dazzled and amazed. The violinist, Leo, displayed much control of himself. Since jhe "was here in 1909 he has adopted a new style of playing in the way of lightness and daintiness, which gives to his performances more polish and finish. He is a magnetic performer, and shows much sympathy and enthusiasm in his work. He secured with his brothers a finished read—g of the first movement of Mendelssohn's Trio No. 1. The rich melody lon the G string, with which the work i opens, was given out in luscious tones i-by the 'cello, subsequently followed by the violin, and finally working up to a big climax wherein the brothers rose to great dramatic heights, pouring forth a flood of musical sound full and grand as that of a large orchestra. This fine movement was brought—o a fitting conclusion by a delicious rendering of the final bars, the low tones of the 'cello being specially beautiful. The elder brother gave a deeply impressive reading of Tschai kowsky's "Serenade Melancolique"—one of the saddest violin solos written. It was-given with steadiness and repose, and in a broadly sustained style. Specially rich in timbre was the tone produced on the G string of the Andante. In the "Largamente" much breadth was displayed in the octaves, and the cadenza was given with decision and fluency. The closing music, with 1 its gradual crescendo of quaver triplets leadin-* to a sustained trill, gradually I again "descending, received a distinctly 'finished delivery, and a beautiful singin" tone was secured of the rich melody of°the final bars. Wieniawsky'a "Polonaise Brrilante, Op. 4," which requires much temperamental playing, found in. Leo a performer equal to all requirements. In this he showed a steady hand and fine command of the bow, and overcame the difficult double^topping passages with decision and facility, the extended intervals were executed with technical finish, and his brilliant virtuosity achieved a real triumph in the dosing pages. Michel Cherniavsky the -'cellist's performianees are remarkable for his spiccato bowing, clean technique, and the beautiful tone he obtains from his instrument. He secures a warm cantabile. and plays with much musical 'feeling. His harmonics were delightfully realised in Sutler's "Sommernacht," and the celebrated R__ian 'cellist DavidofFs "Am Spring Brunner"—one of the most difficult 'cello solos written, was rendered with extreme delicacy and finish. By reason of his flexible spring bowing ■he was enabled to execute the long succession of semiquavers like a 6tring of pearls in their rounded beauty, while the middle movement was interpreted with warmth and manliness of tone. >Vfter this artistic performance of a /famous solo the young musician was enthusiastically recalled, when he contributed Van Bicn's "Broken Melody."