MUSICAL NOTES

Evening Post, Volume CVII, Issue 96, 27 April 1929, Page 24

MUSICAL NOTES

Friedman has played to us again, and again we have reason for the opinion that he has not quite fulfilled the :expectations of him we had when ho first came to us. a few years ago, states a London writer. Not that there ia any question of Friedman's great abilities as a pianist, for they are plain to see. But, there was a time when he was a greater artist at the piano vtWan ho now cares-to be. For much of. Ms artistry is subordinated to 'wizardry, and his'feats of skill ovorshadow his interpretations. -It would.seeni that world touring has had the effect of deadening Friedman's responsiveness to the music before himas-niusic, 1 and has .exalted for him its,possibilities as a vehicle of display certain to .please his audiences. If so,, there is much'to : rregret, for Friedman is in some ways, a very great pianist,^ and his. art is in danger of being spoiled by these pianistic exaggerations meant to' secure a success of the moment..; His best playing a.t this recital was in the:twenty-four.Preludes of Cho^ •pin,' and Schumann's Carnaval.

v Evelyn ■ Scotney, 'who will again sing in Melbourne soon, made a New York op-eratic-debut at, the Metropolitan, with Caruso in "La Juive,?' and "she was singing with him in the same opera on Christmas Eve, 1920, when he made his last appearance. With great determination Caruso went through his part in spite of,severe pain. , ■ . Apropos of this,. Mr. Stanley Chappie well and 'favourably known for some time past as a conductor of light orchestral music, has come out into the open this week by means of a concert lib has given with the London Symphony Orchestra. His programme consisted of the Euryanthe Overture Delius's beautiful - descriptive work Pans, the third symphany of Brahms's and, .with the additional assistance of the Buda-Pesth Trio, Beethoven's Triple Concerto, in all which varied tests'of a •conductor's'art Mr. Chappie revealed himself as an orchestral director of considerable gifts, able both to set before' himself a well-thought-out'reading of a score, and to inspire the players under him to adequate performance. In the case of Brahms we see the difference between "melody" and melody (says a German ■ musical writer). The more a melody jumps to the ears at' the first moment, tho less chance it has of lasting. Brahms's melody is enveloped by means of a craftsmanship, which, in the first decade of. the performance ,of , his works, seemed to be the more striking part of his art. It is the most aristocratic symphonic art the post-Beeth'overiian age": has seen,. and, thanksvto its aristocracy that veiled' at the time of its inception, its imaginative power, it is; still living.' .The ■ great--•',classical' songs, such as Schubert's "Wanderer" or Schumann's "Widmung," require breathing so good that it is neither seen,nor heard (says a London critic). On .this perfect breath control the; phrases 'can. be sha-ped in their true beauty. In olden times violinists learnt from Italian singers the art of fine phrasing." ■ To-day, young, singers;'might learn from studying the: phrasing of a Krcisler, a.Casals, or a Bauer. '..], .' ■ . ■ : '