VIOLIX RECITAL

Press, Volume XCII, Issue 27699, 1 July 1955, Page 5

VIOLIX RECITAL

SUPERB PLAYING BY MAX ROSTAL Although there was not a large audience for Max Rostal's recital in the Civic Theatre last evening, nevertheless those who were there heard playing such as is. very rarely heard. Max Rostal is one whose work in every respect entitles him to be considered a ‘•master.’’ with all that that old title implies. Broad and deep understanding of the music, a poised and mature judgment, a refined elegance of delivery, and all of these at the service of a sensitive and truly poetic spirit, make his playing something to be heard with awe and remembered with warm gratitude. It was a wonderful programme. Ii began with a Concerto in G minor, by Tartini, which Mr Rostal has-res-cued from the archives and edited witn erudite skill. How splendid it is thal this lovely work should have been brought out into light after 200 years and should glow once again in Mi Rostal’s authoritative and glorioui Playing! The first movement is stronj in its melodic lines, rich in feeling am quite free from any sentimentality. The feeling is more intense in the second movemen'. whose phrases fall like peaceful blessings, and there is, in tir final Allegro, all the grace and dignity of the Eighteenth Century salol. Then came Bach's*famous Chaconne. Its technical difficulties floated awjj when dealt with by such consummate mastery. There were times when so many different tonal colours came frosi a sustained chord that it seemed unbelievable that there were not foiiviolins producing them. However, leaving technical matters out of it—and they mean so little at this level of playing—what was so refreshingly amazing was the absolute rightness oi every sound in every phrase. They breathed forth so naturally and neyitably. We knew them all- Ve listened them again. But they were so fresh and apt that they seemed to say. “Yes! This is what we have always meant since Bach wrote us doTii. We couidn t mean anything ei®." Even with the great virtuosi this i» something that rarely happens, although concert-goers in Christchutcb are having wonderfully rich exptri cnees this season and there are moie to come Rostal brings this to us because he brings to the music a gteat wraith of scholarship and experience. « is all meant so intensely and il is so beautifully. He could hot P«y a phrase in a perfunctory wjy. And it was the same with all that plowed. There was a superb per- i *°?nance of Beethoven's Sonata in C l Again there was that masery style—exactly the right sound *.n right place. The tone ranged from ■ loving tenderness in the second njve- . to astonishing flashes of briljant in the Scherzo and martial dang ; glitter in the Finale. . Jloch's “Nigun” was deeply moring. Prise sounds indeed came from the . Then there was Mr Rotal’s ‘ 2*?angement of Prokofiev’s “fairy *®ter” from the ballet “Cinderdla *' liris was “a honey!” Played con it was wispy magic all If these sounds are fairies. haunt the bottom of the garden. ; .. programme ended with BarRoumanian Dances. This was tbft? ilci - rt °k. but interesting and ' ‘PJ’roushly charming. would seem from the foregoing ; Mr Rostal gave the recitfl by Except for the Chaconne ' SJ Dot the case by any jxeans. old friend, and former f<Uow-

townsman. Mr Maurice Till, was Mr Rostal’s pianist. He has always been noted for having a sure technique and thoroughly reliable musicianship. However, in his playing last evening he added to these high qualities a poetic and imaginative sense in a higher degree than he has ever shown here before. So high was it that he rose to all that Mr Rostal’s playing manded. and in all his work he showed an artistry which would suggest that he had been playing with Mr Rostal for months instead of for a fortnight New Zealand is lucky m having in Mr Till someone who can accompanv an artist such as Mr Rostal and give such a sterling performance under such acutely exacting conditions. —C.F.B.