SIMON BARERE

Press, Volume LXXXIII, Issue 25298, 25 September 1947, Page 3

SIMON BARERE

ENTHUSIASTIC RECEPTION Simon Barere’s second piano recita] in the St. James’ Theatre last night was well attended, and he was recalled many times by vociferous applause. He played a programme of exhausting difficulty—one that tested his astonishing powers to the full. Beethoven’s Sonata op. 110, Chopin’s Fantasy in F minor. Islamey by Balakireff. and Blumenfeld’s Study for the left hand, all on one programme, comprise a test both of physical endurance and sustained emotional effort that few virtuosi would care to attempt. However, unlike the young pianist who asked a composer to write him something that would be easy but would appear to be difficult, Mr Barere delights in making toe most frighteningly difficult works aeem really quite natural and simple. For the most part, except for the Beethoven Sonata and the Chopin group, the compositions chosen for this programme were designed more to display the possibilities of the piano as an instrument and the technical skill of a pianist than to reveal the deeply-felt personal emotions of the composer, his realisation and his expression, through music, of those hopes, fears, tragedies, aspirations, and great joys which go to make up the common life of all mankind. It is with these that the greatest music is concerned, and the greatest music is not necessarily the most difficult technically. In music, as in literature, some of the noblest and most profound sentiments have been expressed in the simplest language. Technical skill is always necessary, but a high degree of sensitivity to the various aspects of life is the greatest necessity both for the composer and for the performer of the first rank. • In his playing of Beethoven and Chopin, Mr Barere shows without question that he hfes that sensitivity himself, and can respond fully to it in a composer. •n - _ 2.1 A rYn 1111

was a work of his ’.ate maturity. Eight of the nine symphonies were written before it. It is not divided up clearly into movements as most of the early sonatas are, but develops philosophically as it goes. Mr Barere played it very beautifully. The first melody rang out with a lovely pure tone, and the big arpeggio passages rang with fine clarity. The thoughtful and meditative recitative passage, together with that which follows it, was played with great sensibility, and clever use of the sustaining pedal gave some delightful effects. The fugue wound its pastoral way, and with the quiet eectten which interrupts it, was played with fitting charm. _ . , The Chopin Fantasy in F minor is not often heard. It is a work of the freatest beauty and philosophic insight, t opens with a questioning melody whicn is answered by a martial, yet subdued, theme which yields place to a typically Chopinesque passage. From then on it seems to be concerned with conflict between the spirit of the poet and that of the soldier. Towards the end there is a particularly beautiful section redolent of cloistered calm. This is left suddenly, but great spiritual strength has come from it and the soldier is stronger and braver and the poet more deeply idealistic. The Andante Spiniato and Grand Polonaise Brillante opened jvith a tone of vital freshness and the Polonaise was played with an admirably clearcut crispness of touch. Mr Barere is a most satisfying player of Chopin and deserves thanks for allowing us to hear these lesser-known works. Islamey by Balakireff is reputed to be technically the most difficult work ever written for the piano. The art of music would not be seriously the Soorer if it were impossible to play. lr Barere got from it all that anyone could manage. The rushing fury of the Asiatic warriors is well brought out, but the lyrical passages are dull writing. Of course Islam itself is a dull heresy although it is and has been capable of much mischief and damage. The Lark by Glinka arranged by Balakireff, with its lyrical delicacy, was a prettily chosen foil for the sound and fury of the preceding work. Blumenfeld’s Study for the left hand alone, r apart from th a great pjanistia skill required to‘play it, has a beautiful ineiody and is the work of a man who not only thoroughly understands the possibilities of the piano but can produce an extremely clever piece of music.

Liszt’s Gnomenreigen was played at tremendous speed, yet there was never the faintest suspicion of blurring and Mr Barere gave us a miraculous demonstration of evenness of touch. The programme ended with Liszt’s Faust Waltz fantasia. As encores Mr Barere played Liebestraume and La Campanella bv Liszt and Grande Valse Brillante by Chopin. C.F.B.