FRIEDMAN RECITAL

Evening Post, Volume CXXX, Issue 101, 25 October 1940, Page 9

FRIEDMAN RECITAL

NOTABLE PIANO PLAYING

Among those present at the pianoforte recital given by M. Igriaz Friedman at the Town Hall last night would be some who recalled his recitals given in Wellington in 1927 and that with unalloyed pleasure. During the past few days M. Friedman has been heard again in New Zealand through the medium of the National Broadcasting Service. Under its auspices he gave the public performance last night. Notwithstanding the wild weather the recital attracted a large audience, there being scarcely a vacant seat. Among those present were their Excellencies Lord and Lady Galway, and the High Commissioner for the United Kingdom in New Zealand. Sir Harry Batterbee, who were received by Professor Shelley, Director of the National Broadcasting Service. The proceeds of the recital were for the National Patriotic Fund. In that sense, then, the appearance of M. Friedman was in the nature of a State affair. The programme submitted was Compiled mainly from !the works of Bach, Beethoven, and Chopin, and its outstanding numbers were the Chaconne of Bach as arranged by Busoni, and the "Apassionata'' Sonata by Beethoven. The Chopin numbers occupied almost the whole of the second part of the programme. In his performance of the Chaconne M. Friedman appeared to have fully- realised that it was music j originally for the organ, but .music] taken by a veritably great pianist and used by him for demonstrating the possibilities of the pianoforte of today, yet without sacrificing any of the majesty and colour of the original work. As M. Friedman played the Chaconne last night he made it positively brilliant in tone colour, every note being clear, distinct, and lustrous. His powerful individualism and deep sense of its poetry were manifest in this particular work, as in the sonata and, later, in the numbers selected from Chopin. The performance of the very wellknown Beethoven Sonata in F Minor seemingly came as a revelation to many present. In this work, as in the Chaconne. .M. Friedman held his hearers spellbound. He made, as in other works played, the most difficult passages seem easy, so perfect was his technique. Physical and mental energy was put into this sonata and in all else he played, but amazing technical dexterity was never allowed to divert attention from the beauty and characteristics of the work itself.

M. Friedman's Chopin selections included the Nocturne in B Major (Op. 62), played with romantic but not sentimental suggestion; two mazurkas and two etudes, and the Waltz in A Flat. All the Chopin numbers were played with poise and elegance, and familiar as they were, they were noteworthy for their refined and respectful treatment. M. Friedman is by no means a phlegmatic player, but he takes his seat at the pianoforte with the air and confidence of the master craftsman, without airs, attitudes, or affectations of any sort, as if envisaging the completed work before it is begun. The recital was in the nature of a conspicuous musical event, and going by the large attendance it should have been a financial success.