Satisfying Delight From Senofsky And Till
There was only a moderate, although enthusiastic audience in the Civic Theatre last evening for the violin recital given by Berl Senofsky. Maurice Till was his accompanist, and these two artists gave their audience an evening of satisfying delight.
Right from the arresting tone in the vigorous opening of the Leclair Sonata No. 3 in D, and in the strength and clarity of line with perfect command in every nuance which followed in the first two movements, it was obvious that Mr Senofsky was a player who gives his hearers full confidence. In the Sarabande his poetic approach was shown in singing and tender tone, and the last movement had scintillating brilliance.
Mr Senofsky can produce strong sounds with apparent ease and all of it is of beautiful and rich quality. Even in his softest playing there is clear impression of great strength in reserve. Mozart's Adagio in E, K. 281. was played with warm and flowing legato style and with exquisitely singing tone, all kept so alive and colourful with rich vibrancy. The clarity of trills and of other ornamentations was a delight to hear. This playing is always stimulating to the imagination and refreshing to the spirit The Rondo in C, K. 373, all bubbled forth with one lovely phrase chasing the next with irridescent sparkle and immaculate style. Mr Senofsky had wonderful control of tone which makes the notes seem like perfectly matched jewels. Mr Maurice Till gave them a masterly setting in thorough keeping with all his fellow artist had to offer in such abundance. Through all the intricacies of Bach’s Chaconne Mr Senofsky gave us massive strength of design and fitted everv elegant detail into the scheme of things with unhesi-t-»’ng mastery. He played w : »h deeply-stirring feeling, c mletely devoid of any sent nor did any purase fall away from strict
classical style. It was noble playing holding heightened attention in every bar. Then came Beethoven's Seventh Sonata in A major, Opus 30, No. 2, in which both players, excellently matched in all contrasts of timbre, in range of expression, and in the niceties of dynamics, gave us a performance memorable for its dramatic tensity, its many moments of lyric grace, its building of flashing climaxes, its rippling little streams contributing in turn to the flood of the mighty spate of sound. Serenity and grace were always present in the gentle singing of the second movement, and exuberance of the dance and of general high cheer shone from the scherzo. There was ominous challenge in the beginning of the last movement and this underlay all that followed throughout the headlong surge through to the triumphant end.
The last section of the programme began with a Sicilienne by Paradis. It sang with elegant poise and expressive feeling conveyed simply but with direct and completely captivating appeal. In similar fashion the charm of Faure’s Berceuse came from a muted melody that seemed to hover in the air choosing just the exact spot where it could make its most delicate landing upon the senses. The Zapateado by Sarasate gave not only the invigorating swirl of a fiery Spanish dance but also suggested the shimmering heat of the day and the excitement of the spectators as well as the energy of the Indefatigable dancers themselves. In addition, Mr Senofsky played four Preludes by Shostakovich—and four little gems they were. A Rondo by Schubert was played with vernal freshness and irresistable charm. Mellow sunlight was created in Bach's Air on the G String which ended not only a lovely programme but also a set of encores which showed rare discernment in choice. CJTJB.
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Press, Volume CIII, Issue 30446, 21 May 1964, Page 18
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610Satisfying Delight From Senofsky And Till Press, Volume CIII, Issue 30446, 21 May 1964, Page 18
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