Niedzieiski Should Have Had Bigger Audience

Press, Issue 30997, 1 March 1966, Page 18

Niedzieiski Should Have Had Bigger Audience

Stanislas Niedzieiski, the eminent Polish pianist, played in the Civic Theatre last evening to an audience which should have been larger. As was his custom on previous visits, he brought his own instrument from Paris. It seems to stand up firmly to the rigours of travel—to say nothing of what happens to it through continuous playing night after night without respite. The programme began with Mozart’s Sonata in A major. The variations in Hie first movement were played cleanly and cleariy—except for occasional blurring from the sustaining pedal. Clarity of itself is not sufficient for the glacious subtlety of Mozart’s works and most of the playing seemed to be at one level. The minuet also seemed to be rather matter of fact in interpretation but the Turkish March came brilliantly to life with sparkling verve.

Two Beethoven sonatas followed: the E flat major Op. 31, No. 3, and the “Apassionata.” The contrasting atmospheres of brooding reflection and happy flights of fancy in the first movement of the E flat were brought out with challenging tonal changes. The second movement rang heroically and Mr Niedzielski’s crisp touch and exhilarating rhythm brought out the strength and excitement of the music admirably. The minuet was played with courtly poise and imagination, and the last movement romped along home with exuberant spirit. Mr Niedzielski’s playing at all times gives impression of formidable strength in reserve. His playing of the "Apassionata” had the grand manner with ringing resonance built upon clear design. The Andante opened with profoundly moving dignity, and the variations, beautifully shaped and coloured, had a lovely patina. The last movement was brilliantly clear and flowed on inexorably to triumphant climax. A group of works by

Chopin began with the Scherzo in C sharp minor. The chorale-like passages were played with attractive depths erf tone but the little contrasting cascades seemed not to have their customary gossamer magic. Lovely lyrical tonal colourings were heard in the Berceuse, and the Waltz in C sharp minor had romantic appeal, suave shaping, and rippling sheen. Nostalgic melancholy pervaded the Nocturne in the same key with appealing effect. The Ballade in A flat

was played with charmingly poetic grace and effortless clarity. The programme ended with Liszt’s Hungarian Rhapsody No. 14 in F minor, and Mr Niedzieiski has a wide reputation as a player of Liszt's works. He certainly brought all that could be brought from this somewhat unrewarding composition. Manuel de Falla’s “Ritual Fire Dance,” played as an encore, seemed to be quite interesting music in contract. —C.F.B.