LEONARD BORWICK.

Dominion, Volume 4, Issue 1233, 15 September 1911, Page 6

LEONARD BORWICK.

A POET 01)' THE PIANOFORTE. It was a liappy inspiration which led to Mr. Leonard Borwick being named "the poet of the pianoforte." Those present at the pianist's first recital in the Town Hall last evening will realise how perfectly the phrase fits. One of tho most artistic of the pianoforte virtuosi who have been heard in New Zealand, Mr. Borwick infused everyone present with a quiet delight. Without the bizarro elegance of PadorewskiY with none of tho sledge-hammer vigour of Mark Ilambourg, and with no pretence to tho majestic authority of tho great Carreno, Borwick still makes a place for hiiuself.cn the- same eminent plane by methods peculiar to himself. He opened with Bach—the' Fugue in G Minor—arranged from tho organ composition by Mr. Borwick. It was Bach idealised, with tho fuguel movement running along like two melodious streams flowing through sunlight and shadow to tho sea. in ordinary Bach is l'or tho elect—Borwick makes him poetry for tho many. The samo composer's choral prelude, "Sleepers, Awake!" was another very beautiful exposition of tho piauist's charm in touch and tone. With placid case and amazing digital dexterity, Mr. Borwick displayed tie rippling beauties of Graun's Gigue in B Flat Minor, and Sgambati's Gavotte in A Flat Minor, a surpassingly attractive number of much rhythmical grace, 'ihe power of the player's technique and brilliant execution became thoroughly manifest in tho Scarlatti-Tausig Capriccio in E' Major, a composition that was interpreted with bewitching mastery, tho amazingly even quality of touch in the rapid work for the right hand painting all the colours with unerring skill and sincerity. The number induced enthusiastic applause. Then Beethoven—thrco movements of the great Sonata in C Major (Opus 53), the allegro con brio, adagio molto, leading to the allegretto moderate. The allegro—a maze of difficult runs, exquisitely melodious in their relationship to one another—was brilliantly played. The adagio, bold and grave in temper, opened out a new spectrum in tono colours, which haloed tho chiming central theme perfectly, the cadence rising to a command and falling to a whisper in perfect gradation. The number was rapturously received, and will long bo remembered by those present. Chopin revealed new beauties in Mr. Borwick's art. His playing of the Ballade in A flat, a favourite with tho public as with all pianists, was delightful in the extreme, and whet the tasto for what was to follow. Nothing, for instance, could be more perfect than Mr. Borwick's interpretation of the same composer's "Berceuse" (Opus 57). Its cool, pacid charm and poetical sentiment were realised with impressive sincerity. Ho gave a technical tour de force in the Scherzo (No. 3) in C sharp minor, in which opalescent dream-tones of. faraway sweetness fell in melodious showers on the ear. The applause which followed elicited another gem in Chopin's Prelude in B flat, which was invested with the same artistic glamour and sparkling charm. Paderewsk'. was represented on the programme by his. "Theme Yarie in A Major" (Opus 1G), a bright composition well loaded with technical difficulties, and demanding extreme delicacy of touch. In sharp contrast to (lie Polish, artist's study was the solemn "Prelude in C Sharp Minor" of Rachmaninoff, which is permeated by a spirit of dread peculiarlv Slavonic in character, and was remarkable for the exquisite shading of the final chords. Tho last number was the floridly picturesque "Etude de Concert in G Flat Minor," of Moszkowski, which once more aroused tho enthusiasm of the audience. Mr. Borwick was called and recalled, but merely bowed his acknowledgments. Among tlioso present were his Excellency the Governor and Lady Islington, who were delighted with Mr. Borwick's performance. A magnificent, programme has been arranged for tho second recital to be given on Saturday. It will include Bach's "Fantasia in C Minor," Chopin's "Funoral March Sonata," Mendelssohn's "Aufschwung," "Romance in F Sharp Major," tho "Etudo in B Flat Minor." "Lied Olmo Worte," and Liszt's "Rhapsodio Hongroise."