MOISEIWITSCH

Evening Post, Volume CV, Issue 126, 30 May 1928, Page 6

MOISEIWITSCH

FINAL KECITAL

Students and apprcciators of tlic pianoforte who have been able to hour Dcnno Moiseiwitsch, tbe famous pianist, who last night concluded an all too brief season in Wellington, uo doubt have been impfosscd by the freshness-and newness with which he invests what may bo regarded as even the most hackneyed classical compositions; his treatment of everything abounds with new life and interest, and colours which were not before apparent. A second outstanding feature of his art, more striking perhaps than his originality of interpretation, is. his wonderful tone production. At times he brings from the instrument a warmth and mellowness of tone suggestive o£ a wood wind or reed piece rather than that of a medium of expression depending essentially on percussion. ,The programme last evening may have been more satisfying to some than those given previously, as the numbers presented were a.- little more off the beaten track of piano performance than many of the items of the earlier recitals. Enthusiasm was in proportion to the size of the audience, which almost filled the hall. The biggest event of the evening was Schumann's "Etude Symphoniques," a highly technical .work which served fully to demonstrate the pianist's exceptional execution. .As an item, however, tho B flat minor sonata of Chopin, with its varying and, contrasting moods, culminating in the well-known "Funeral March" as the third movement, was probably more acceptable to most people as. revealing all sides of the performer's art. As "an encore number to the Schumann variations, M. Moiseiwitsch gave Liszt's "Licbestraume." Tlie final bracket of. eight pieces was a veritable treasure chest of contrasts in musical beauty. First came "The Swan" -(I'ahnjsren) and the.Rachmaninoff Preludes in 0 minor and C sharp minor, each of which was notable for departure from the obvious; then three descriptive morceaux— "The Little White Donkey" (Ibcrt), "Flirtation in a Chinese Garden," and "Rush Hoilr in Hong Kong," two quaint little works by a gifted American composer, the latter of which was encored; and the Liszt arrangement on Schubert's song. "Hark, Hark, the Lark!" and Liszt's "La Campanella." As concluding encore numbers, M. Moiseiwitsch gave two Chopin studies, in P minor and F major respectively.