PEREGRINATIONS OF A' PIANIST

Dominion, Volume 20, Issue 54, 27 November 1926, Page 5

PEREGRINATIONS OF A' PIANIST

CONTRASTS IN BERLIN

(By Gordon Short)

Berlin, September 26, 1926.

Three concerts in one day! Symphony concert from 11.30 to 1.30, orchestra concert of waltzes and extracts from operaeltes by the old Johann Strauss irom 4.30 to 6 p.m., performance of “Judas Maccabeaus," 8 p.m. Leave for Switzerland at 11 p.m. It was by strange chance that the first symphony concert I should hear in Berlin during this visit should remind me so strongly of the .first concert 1 heard in the same hall years ago. Arthur Nikisch, the greatest of all conductors then, wielded the baton with the Philharmonic Orchestra and Madame Teresa Carreno, the world’s greatest woman pianist, was the soloist in Beethoven’s "Emperor" concerto. I became one of the most ardent worshippers of the great Nikisch and for several years was a pupil of the wonderful Carreno. Both of these leaders in their own branches of music have since passed beyond, and their memory is dearly cherished throughout the entire musical world. As I sat this morning in almost the identical seat 1 occupied some years ago, a certain sadness possessed me. Wilhelm Furtwangler stood where Nikisch used to stand and Elly Ney sat where Carreno had sat. The orchestra was still the Philharmonic, Furtwangler was appointed to the positions held by Nikisch and is regarded as Germany’s most able conductor, whilst Elly Ney, the Dutch pianist, is regarded by many as the natural successor to Carreno. It seemed strange that to these circumstances should be added the fact that Elly Ney was playing the same concerto as Carreno did at the concert so long ago. The programme this morning consisted of Cesar Franck’s Symphony, which headed the list of favourite symphonies at a recent plebiscite in America, Beethoven’s “Emperor” concerto, the greatest of classical concertos, and Richard Strauss* “Till’s Merry Pranks,” one of the most effective and whimsical of all orchestral caprices. .It was a programme of special interest for music-lovers, added to which it was handled by such a magnetic conductor and well-equipped soloist. A feast of beautiful sound was offered. I confess the tears stood in my eyes during a part of the Franck Symphony, the puro beauty of which is scarcely excelled in anv symphony I know. There is a striking difference between the physique and style of Furtwangler and Nikisch. The latter was many years older than Furtwangler when I heard him so often, and naturally he would bo much more restrained in manner than the much younger man. It is said that Nikisch was very affected as a conductor when he was much younger, but in his later years he seem»l to be able to extract the most thrilling contrasts with the slightest movement of hand. For the finest and most subtle, effects the elevation of a finger or the raising of the eyebrows brought the most perfect response from the orchestra.. Furtwangler’s movements, on the other band, reflect the virile, forceful energy of youth. I believe, however, this is more noticeable since a triumphant tour through last year. Nikisch was a man of small stature, with very penetrating eyes, and an artist’s sensitive face, whilst his whole norson at the same time breathed a refined elegance. Furtwangler is lean and tai] beyond the average, also bald in advance of his years, with a scholars face, and big, bounding steps as he almost runs on to the platform. His control of the orchestra is superb as one would expect from one chosen to fill the most important conductor’s position inGermany. One feels that he is compelling the players with his. strong temperament, whilst with Nikisch one felt that he was leading them. Elly Ney gave a strong reading of the concerto, outwardly reminding one vividly of Carreno by her majestic bearing and proud toss of the head in very rhythmical passages. One missed in her playing, however, the wonderfully singing quality of touch which was such a distinctive feature of the playing of Carreno. 'The thunderous applause which greeted Elly Ney and later Furtwangler showed how deeply stirred the audience was. It was such as one generally hears from a huge crowd at a particularly exciting sports gathering. The concert this afternoon was given by a Vienna orchestra, under the conductorship of a grandson of the immortal Johann Strauss, who is carrying on the' tradition of the pure, waltz form. Those who have heard Viennese orchestras play waltzes realise that m no other part of the world is the exquisite coquetry, the fitfulness, and the extremely aristocratic elegance of waltzes so perfectly expressed as in Vienna. It was, therefore, a musical treat to listen to this performance, in such startling contrast to the poor musical ideas and dull monotony of the present-day dance form. This great Johann Strauss had enjoyed the friendship and admiration of a number of. the greatest musicians of his day, who recognised, in him an unusual melodist and the genius of the dance form. Even the incomparable Nikisch. shortlv before his death, conducted a performance of the "Blue Danube” waltz with the Vienna Philharmonic Orchestra at the unveiling of a statue to the much-beloved .oom-, poser. It is said that much of the grace which was such a feature of the latter’s interpretations was a reflection of his perfect mastery of tins most elegant of dance forms. The magnificent performance of H#ndel’s heroic oratorio was conducted by one of Germany’s foremost choral conductors, Rudel. Both orchestra and choir gave a rousing performance .ct the ensemble numbers, and the soloists were excellent. The strong tenor role was sung by Rudolph Laubcnthal, whom I heard a few evenings ago in the most stirring performance I have ever heard of Tristan in Wagner’s imperwhnble love tragedy, “Tristan and Isolde. Thus closed a day full of strong musical contrasts. Then off to Switzerland by the night express.