Enjoyable Playing By Eugene Istomin

Press, Volume CV, Issue 31062, 18 May 1966, Page 18

Enjoyable Playing By Eugene Istomin

Eugene Istomin’s pianoforte recital in the Civic Theatre last evening was enjoyed by a fairly large audience.

The programme—for the most part a run-of-the-mill one—began with Haydn’s Sonata in A No. 12. The quiet andante, played with warm tone containing many shadings of nuance, set a serene and gentle atmosphere. The minuet was gay and playful, but had poise and dignity as well. Mr Istomin can cause one note in a phrase seemingly to shine with a bright gleam and to illumine those surrounding it in highly effective fashion. Schubert’s Impromptus in G flat and E flat followed, and the warmly romantic melody in the first rose from the instrument with mellow timbre against a filigree accompaniment, soft but giving a vitally atmospheric background. This was beautifully poised playing. The second of this group had all the freshness of a spring morning in the Prater with a fountain playing against a light green background of newly-appear-ing leaves. Occasionally there came strains as from a regimental band, suggesting I military pomp on parade. Mr Istomin's interpretation of Beethoven’s “Waldstein” sonata left some mixed feelings. His use of the sustaining pedal caused some figurations to be not as clear as was expected, and frequently the tonal quality was rather harsh. However, through the first movement there was strength, nobility, and integrity, with many passages of lyric beauty. The prevailing!

mood was inflexible purpose expressed with bold determination. The somewhat long break between the first and second movements was to be regretted. The slow movement suggested a scene from a bridge spanning a deep ravine. The last movement seemed to be played at rather too slow a tempo, with the coda going to the other extreme. There was massive dignity, but the interpretation sometimes seemed to lack flow.

Stravinsky’s sonata (1924) was played with telling clarity of structure. By clever choice of tonal qualities Mr Istomin kept sharply defined balance between the reflective character of the music and its strictly formal design. There was cool and astringent freshness in the second movement, with well-chosen timbres, and brilliance was conveyed in the last movement without the slightest need for fireworks. Interest was held all the way by melodic design and harmonic idiom.

Mr Istomin produced lovely warm and singing tone in Chopin’s Nocturne in F sharp. There was splendid clarity of articulation, and a truly poetic atmosphere was skilfully created. His playing of the Scherzo in B minor was disappointing. An over-use of the sustaining pedal frequently caused blurring, and frequent stamping with the left foot did not add anything which the music itself could have created by way of exhilarating atmosphere. Excessive rubato in the middle section made for sentimentality. —C. F. B.