JAN SMETERLIN

Press, Volume XC, Issue 27377, 16 June 1954, Page 8

JAN SMETERLIN

MAGNIFICENT PIANO RECITAL A recital by the visiting pianist, Jai Smeterlin, given last evening in the Civic Theatre, was a noteworth} event. Here is a master who has ex ploited to the full the tonal resources of the pianoforte. His technique is phenomenal.

The evident enjoyment he brings to his playing is infectious, and transmits itself to the audfence. The allimportant part touch plays in his performance is more the result of intuitive musical feeling than of conscious control. This enables him to give to his interpretations the quality of fresh spontaneity, and this imparts to his rhythm tremendous forward impulse. His range of technique is staggering, and the power of selectivity of his fingers so assured that he can be confident of producing any note at any place, with the desired tone. His programme comprised music written in the nineteenth century, within a space of 30 'years. But this very compression served to focus attention on the extraordinary vitality of this period in Europe, and on the remarkable resource in keyboard treatment that was achieved then.

The Brahms-Paganini variations still present a formidable task to the most advanced virtuosi in spite of the great development of technique in recent times. The work is a revelation of what genius can do with such slight material as is offered in the theme. Mr Smeterlin’s choice fell on the first book, with some numbers, including the finale, from Book 11. . His contrapuntal wizardry, resulting in such complex development in double notes and left-hand technique, was masterly in the extreme. The subtle variety in force from the greatest power to delicate pianissimos, the exquisite melodic tone, and the beautiful sub-themes placed the work in a new light.

Schumann’? Fantasie in C major, Op. 17, revealed Mr Smeterlin’s great gift of lyric expression in its first movement, and nis power to express heroic martial energy in the»second. The dream-like third movement sounded like a benediction after the storm’ and stress of the preceding movements. This was truly great playing. The recital closed with the 24 Preludes of Chopin. In this field Mr Smeterlin’s reputation had preceded his arrival here. When \ye have listened to his broadcasts from other centres it has been obvious that we have to deal here with an authoritative and traditional interpreter of the great Polish tone-poet. Each number was a perfect gem under Mr Smeterlin’s fingers. The upsurging themes, the voices of deepest despair, the Ariel-like lightness, and the transcendent brilliance of others left one spellbound. Awesome were the B flat minor and the F minor preludes: and the teeming passages in the final D minor were things to be heard to be believed. Such delicacy as in the preludes in G major and E flat major and F major leaves a memory that can never fade. Encores were given generously, all from Chopin, and were performed with inimitable grace and charm. It is regrettable that this was the one and only opportunity of hearing this great arrd intimate artist. Perhaps now that he has come to know us, he will favour us with a return visit at no distant date. It is in the interest of the musical public that he should do so if it is at all possible. —E.E.