SHURA CHERKASSKY

Dominion, Volume 21, Issue 300, 19 September 1928, Page 6

SHURA CHERKASSKY

4. BOY wizard of the pianoforte ENTHUSIASM AT TOWN. HALL Last night's premier recital here of Shura Cherkassky, lhe Ki-year-old Russian pianist, was all that was needed to estqblisli the fact that (be encomiums lie has gathered en route lo Wellington are more than justified.. It is simply amazing that Russia, and, to particularise, Odessa, can produce so inanv prodigies in miisiA There is no questioning lhe lad’s genius—it is so teehnieally brilliant, ami so tinged with I lw highly clarified emotion ol an elevated musical nature. Shura’s playing is as vital as electricity, clean, crisp, virile, ami enormous in its strength, yet withal devoid of the slightest suspicion of striving after meritorious ecct or tlie imposition of any arbitrary, personal iilioeyncrasies. He is as dynamic as was Mark Hambotirg twenty years ago, yet has the delicacy and innate refinement of Teresa Carreno. There is nothing played that is devoid of colour, rhythm, and a sense of accent that vitalises every department of his tonal art. And this in a boy who will not have achieved his seventeenth year until next month. Yet, he speaks of going to Paris to study. Ilis initial appeal was lo lhe musical --Bach, elaborated by that: king of pianoforte complexities, Liszt, the “Organ 1-aii-tasy and Fugue in U Minor.'' Nothing in this lo "tickle the cars of the groundlings. ” A prelude of mighty, majestic chords played with amazing dynamic force, and then the woof ami weft of the fugue, with the deftly interlaced themes coming through with a clarity delightful to tlm ear. yet: devoid of any emotional appeal. That came immediately after in the beautiful “Somitn Appassionafa,” of Beethoven, with its- solemn niolif, and sudden cascades of ruslifiil chords that take in lhe full gamut of the instrument. Here was tone colouring, tlie finest modulation, tlie deepest solemnity in juxtaposition to those torrential Hoods of music that gave tlie composition its title at the hands of ils original published. The Chopin bracket which followed served but: to weave (he spell a little firmer. At first the evanescent fugitive beauty of (he composer's only "Barcarolle,” played with infinite delicacy and refinement, the Iristc loveliness of the "Etude in E Major” (Opus 10, No. 3); the intricate "Etude” (Opus 25, No. 12), with its tlooilipg arpeggios; and tlie "Scherzo in B Minor" (Opus 20), played with dynamic velocity and strength. This bracket: aroused the audience lo a high pitch of enthusiasm, which produced a Chopin waltz, played with rare will iter,v and grace. Tim final bracket was devoted to modern and comparatively modern composers. It infrodiiccd tho brilliant "Kaleidoscope” by Josef Hofmann (to-day one of the world's greatest pianists and director of the Curtis Institute at Philadelphia), a work of shimmering iridiscence of the fantastic order, (hat. extended tlie pianist's technic ami left, one gasping at ils wonder. Tho "Reverie” of Debussy is another example of Hie French composer's ethereal music, anil infinitely more national in si rm-lure limn some of Debussy's better known works fur the pianoforte. Tim fiery •■Prelude in G Minor" of Rachmaninoff again cajled forth tlie clean-cut virility and strength of the player. In contradistinction the cool delights of Liszt's "Liebers! railin'’ was plavcd witli almost devotional tenderness. Finally Schulz-Elver's transcription of Strauss's ever-popular “Blue Danube'' waltz, with its gorgeous rhythm and brilliant embroidery. swept tlie audicm-c off their feet, causing an ovation of a character seldom experienced. Tim encores which followed the tempestuous “bis” were a Mendelssohn "Scherzo.” Beethoven's "Eccossnises.” and Liadoff's “Music Box,” each played with transcendent skill. SECOND CONCERT TO-MORROW. Tim second '.concert of the season will take place in lhe Town Hall to-morrow night, when tlm programme will include tin* popular "Moonlight.” by Beethoven, ••Chromatic Fantasy and Fugue” (Bach), a group of Chopin pieces, "Ballade in A Flat.” “Nocturne in D Flat Major,” "Mazurka in F Sharp Minor.” "Polonaise in A Flat,” "L’Orient and L'Oceident" (M. Dvorsky). "Rusli Hour in Hong-Kong” (Chasins). "Hungarian Rhapsody No. 12" (Liszt), etc. Tlm third recital will lie given on Saturday. Tlie box plans are at tlm Bristol.