GENIUS OF PIANO

Evening Post, Volume CXI, Issue 139, 15 June 1931, Page 11

GENIUS OF PIANO

XEVITZKI RETURNS

A TALK ON MUSIC

One of the most vibrant personalities of the concert platform, Miseha Lcvitzki, tho famous pianist, arrived in Wellington this morning in preparation for his local season. Unlike so many of the modern virtuosi, he is absolutely devoid of exotic mannerisms or affectations. His demeanour conveys .the impression of great energy and great delight in the happiness of life, but when hB talks on music and his art,: the listener readily understands the reason* for his eminence. He lives for his music, and his greatest ambition is. to see the public educated to a deeper appreciation not only of music, jbiit of all' the arts.

Mr. Levitzki was delighted .to know that Wellington had two symphony orchestras. "The symphony orchestra/ lie saW, "is the greatest single factor in the interpretation of music, and, unless a city can support a symphony orchestra, it cannot hope to attain full musical development." He hoped that the local orchestras would strive to foster a love and appreciation' of music in the children, and mentioned that .in America', at . the present time special symphony concerts were being broadcast weekly for schools," and the children were obliged to listen in,. "The only'way to develop a musical taste,1' he said, "is to educate tho young people, but it is essential that their ..music should', not be made a burden to them but rather an entertainment. If I had my way, I would revise: the education syllabus, so as to. include, a-study of. all the arts, because no human being who is lacking in some appreciation of. all art is complete." ..".'."■.'' . Since Mr. Levitzki visited New Zealand ten ye.ars ago, he had made yearly tours of Europe and America, and has also played in the Far East. _ "It is a mad life," he'said, "and,l'or self-pveser-y'ation X am-going: to curtail my travelling in the future: It;is because of the arduous nature of my work that I have delayed f.Oi' 'ten years aiiy return to Australia and . New ~ Zealand. Every •time I visit this part of the world, it means that I am on toiir the; whole year-round." .:.: : .... "But.you have the long sea voyages as a:rest!", .interjected a. "Post" re-'

porter. .. ' . : . . '. .... "I hate 'boats,"-said the -pianist.; "A sea .voyage is an exaggerated rest, and lam uot'.a perfect sailor. My typg: of ■work'requires long vacations." ;r. - ' "Fi-equphtly durhig-;his 'travels, tlie pianist is'asked why'ho docs^iot m-; «luae more modern ivork or jieglectetl classical.piecds in his programmes, and to this question he lias a definite reply: "I havea't the.right," lie said,;Jo use' We 'concert hall lor. experimental purposes. I have one and three-quarter J'oura bir'the platform,-and it-is my duty' to give the public the- most beautiEul aiuV.the most essential ■ works in music' ;If:an artist .is ;10ff per cent, ionesti' ho : lias' no- "ght- to appoint In'mself educator of the public. I do jidt play the public anything that 1 do aiot lovo myself. I must leant to love a composition before I play it, and many of the modem composers taJce a 3ot of loving. In making up a -programme there is always tho problem ol satisfying the erjtic-ami tho profesBional musician, and satisfying the genoral public. The general public attend a concert in order to hear _ their favourite pieces, and" if they are not on the programmo they will stay away. The. moat artistic and .unhackneyed •programmes, always. draw ; tho smallest audience.' I.am not talking theory, .but actual .practice. . .In -. Melbourno 1 ;prosented.'a .programme which.. included Beethoven's' .Thirty-two Variations, a Schumann' Sonata, groups, from Brahms. and .'Schubert, and pieces by Scnabm, aria I. discovered afterwards that many people stayed away because there was aio Chopin on the programme. ihe wux'of.the. question■is;whothor.I-am to, satisfy a few^musicians-.or.'ivhuther^ nn,--toW'2<« the' public;-Why. sliould 1 travel'lo,ooo miles-."jtist to play a. few ' cavitu;C. pieces; for - the in'usieiaiis - ■ancrncglecfthe- public?.; One- cannot educate .the public only by Innng them to concerts with, pieces they know, and. "IVi'nW them a sniall portion of untamiT fi a r-\vorks..l.always'endeavour to make mv'Vfogramnies ligli.t.or as the evening progresses. I include a.certain amount of modern;music, and will probably in--. (! lude;morc as time progresses, but at tlie'pre'sent time "I am a classicist: Iheu. is certainly some fine modern music being written at the present time but there is no evidence of a living Bach, Beethoven, or Brahms." • Mr Levitzld remarked .that many of the best modern composers were pass-ing-bv'the .piano. "I don't know how Jong-tliatwiir last, but the great mas, ters did not. do that." ■ '■_„ ~ Arid jazz? "I.love jazz; but why call it musicf" lie said.;..; " '. ■ '"..'.- .'. ■ .