THOUGHTS ABOUT MUSIC

Evening Star, Issue 24082, 31 December 1941, Page 10

THOUGHTS ABOUT MUSIC

(By L.D.A.)

.V remarkably fine public concert was given recently in Welling!on, wbieli featured i lm four oulstanding musicians now visiting New Zealand—Jguaz Friedman, Henri I’enn, Andersen T.yrer, and Harold. Williams. (The names are written alphabet!cally, to avoid invidious suggestions of precedence.) A splendid orchestra lent powerful aid to the soloists and was heard in some s)wring excerpts also. Altogether, it was a concert very much out of the ordinary, and the large audience present showed appreciation in no uncertain fashion. In fact, the applause proved its genuineness by its striking and welcome departure from convention. It broke out spontaneously at the end of each movement of the concerto played by Friedman, much to the affected horror and disgust of “ superior ” persons. • • » • 1 have on previous occasions alluded to the absurd practice, which has developed in recent years, of tabooing applause between the different sections of a long work, such as a sonata., symphony, or concerto. How this originated is something of a mystery. No adequate argument can be advanced in its favour. Each movement of such compositions is, generally speaking, quiie separate and distinct; therefore, to assert that applause destroys cohesion is nonsensical. If the artist plays well ho or sin - deserves recognition in the customary manner whenever opportunity -serves. 1 myself have ’often performed a solo handclap at the close of an intermediate movement, with the result that many supercilious glances have been turned in my direction, as much as to say: “Who on earth is this ignoramus? ’’ This has happened to me in London and in New Zealand. But I wasn’t, worried. * * * • There are times, however, when an artist's triumph is so complete that the hulk of an audience is swept off its feet, and applause breaks out involuntarily. This is what occurred during Friedman’s performance of Saint-Saens’s second piano concerto, an exhilarating work of exquisite musicianship, rarely heard in tin's country because of (ho extremely difficult solo part. Friedman was in great form, and tils brilliance carried his hearers away entirely. He built up climaxes which no audience could have resisted: pent up excitement simply had to find an outlet, and Hie result was an outburst of enthusiasm at the so-called wrong places which may have shocked convention, but was refreshingly human. .Not that Friedman’s performance was faultless. Far from it. There were wrong notes galore. Nevertheless, on the who ■ it was a masterly and stimulating'achievement that will long be remembered. • • • • This concert had another claim to unique distinction in that no fewer than three first-class pianists figured on the same pro- 1 gramme, though in different capacities, j Andersen Tyror, who conducted the orchestral accompaniment for Friedman, is himself a fine soloist who could quite easily have duplicated Friedman’s performance; he is said to know - from memory 32 concertos, and this one of Saint-Saens would have no terrors for him. The same may lie said of Henri Feiui, who appeared only iu (ho comparatively minor role of accompanist to Harold Williams, but is also capable of playing almost any standard concerto at a moment’s notice. Moreover, in sheer versatility, Penn could, 1 fancy. “ knock spots ,r off anyone now in New Zealand. His range of “ infinite variety ” is truly astonishing; there is practically no piano music of any sort or kind that lie cannot play at will. * * « • Of Harold Williams it is not necessary for me to sav much more than that he lived fully up "to his unrivalled reputation. Never before have I heard the Prologue to ‘ Pagliacci ’ snug with such compelling artistry. As a rule this item bores me. But 'Williams made it what the composer intended, an emotional exposition of intense human feeling. I don’t mind confessing that it brought a lump to the throat, which has seldom been my experience, and is a tribute requiring no further words. [ raise my hat to Harold Williams; he is a master of his craft. • * * * Another point of interest in connection with these tour fine artists is that the exigencies of war may possibly compel them to remain in the Dominion for an indefinite period. Let us hope, in that ease, that the fullest use will be made of their services, and every advantage taken of such a fortunate conjuncture. • m • • Concerning Ignaz Friedman I should like to add that many of us want to hoar him in recitals devoted to the works of Schumann. In my opinion he is, a much better exponent of that composer than ol Chopin. I have already heard him give interpretations of Schumann’s ‘ Carnival ’ and ‘ Kreisleriana ’ that were about as perfect as human fingers could make them. Moreover, he plays Schumann’s text as written, and takes no liberties with it, as ho is too prone to do in the case of Chopin’s music. Besides this, his Chopin playing is peculiarly variable and inconsistent. It reminds me ot the nursery rhyme about the little girl with a curl right in the middle of her “ torrid ” : when she was good she was very good indeed, but when she was . bad she was horrid. What is the explanation, one wonders, of performances that sometimes are thrilling, yet at other times cause one to switch off the wireless in astonished disappointment? it * * • By the way, it seems that Friedman has an unusual authority for his interpretation of Saint-Saens’s Concerto because lie first played it when he was a boy of 20, with the composer himself playing the orchestral part on a second piano. That must have been a memorable occasion. Saint-Saens was a virtuoso pianist of extraordinary powers. His technique was prodigious, and remained so until the end of his life of 86 years. When ho was 84 he made some gramophone recordings which would put to shame many pianists of half that age. His power ot sight-reading surprised even Liszt, the greatest sight-reader, ever .known. Saint-Saens also shone as organist, and for half a century presided in the Madeleine organ loft in Paris. Ho was a mud) greater composer, too, than is commonly realised. Practically all wo ever hear of his on the wireless consists of three hackneyed numbers—‘ The Swan,’ • Dance Macabre",’ and * Softly Wakes My Heart.’ Why this should be, when SaintSaens wrote nearly 200 compositions in every form and stylo of music, many of them magnificent masterpieces, is just one of the mysteries of broadcasting which arc ; beyond our ken. I must add, in fairness, 1 that there is also a recording of the second concerto, played by Arthur de Greet’, I which is occasionally presented, but not often enough. » * * * If anyone wants to know how well a jazz pianist can play - decent music when j required, just tune in lo 4YA next Saturday evening at 7.55 and hear • the late Ua'ie da Costa play items by Chaniinadc and MncDowdl. That also sometimes happens with our New Zealand dance band leaders. For example, there is Ossie Checsoman, of Auckland, a recognised “ hot-rhythm ” export, I believe (whatever that may mean), whom I once heard give a most excellent rendering of a Liszt Rhapsody. 1 was fully prepared, figuratively, lo kill the failed calf in honour of one prodigal reclaimed; but, alas, my rejoicing was premature, the sinner has since reverted to his ungodly strains. However, it was good to see even a small sign of repentance. Perhaps during 1942 Ossie Clieeseman will take a longer respite from his musically evil courses. To him and to all my readers I extend best wishes for a happy and prosperous New Year