ARTISTIC UNITY

Gisborne Herald, Volume LXXIV, Issue 22407, 14 August 1947, Page 6

ARTISTIC UNITY

KRAUS-PIKLER DUOS OUTSTANDING PROGRAMME Artists both, Lili Kraus and Robert Pikier presented an outstanding recital last, night at the Opera House, which was. curiously enough, not nearly so well patronised as one would have expectedThe chance to hear first-class executants of the pianoforte and violin does r.ot come often in a lifetime, and as Madame Kraus has twice before been to Gisborne, one would have thought that that very fact, and the tremendous “‘enthusiasm with which she was greeted previously, would have resulted in an audience large in numbers and enthusiasm alike The fact that she was accompanied by Mr Robert Pikier, himself one of the foremost violinists to visit the country, should have added considerable inducement to Gisbornians. Nevertheless, for those who attended the concert, there was a feast of music sufficient to satisfy the most ardent music-lover, and those present were vociferous in their applause. One of the most outstanding features and one of the most obvious, although not. oerhaps, relative to the quality of the music, was the great contrast between the two artists Lili Kraus, alive, alert, dramatic: Robert Pikier. poised, almost still, they formed an unusually attractive team, to the eye as well as to the ear. An Impressive Team As a team they were impressive, and if one was more conscious of Lili Kraus at times, this in no way detracted from the performance, her verve and brilliance seeming to sweep away any reticence on the part of her co-artist. They each revealed sensitive approach and insight and presented a oeautiful programme the like of which has probably not before been heard in Gisborne Lili Kraus displayed a wide tonal range and her performance was rich in colour and depth. Robert Pikier has little spectacular appeal, but none the less he took a full part in the partnership and to his side of the duos brought true musicianship and a beautiful interpretation.

To those who had previously heard Madame Kraus as a soloist, it was interesting to note that as a partner with the violinist, she seemed to retain her magnificent individuality and yet work with Mr. Pikier in perfect co-ordina-tion and harmony. The Programme Madame Kraus gave the programme annotations from the stage and this, if anything, enhanced the performance. The programme opened with “Sonata in G Major.’’ Mozart commencing in the Italian style with a short introduction “Adagio.’’ moving forward into the first, movement proper in G Minor "Allegro.” followed by “Andantino Cantabile.”

Contrasting with the Mozart sonala. was the “Sonata in D Minor,” Brahms, which followed, opening with “Allegro,” giving a dark and sombre, almost feverish atmosphere, as of moorlands and marsnes, followed by •‘Adagio.” a brighter movement, in which the violin was responsible for a very beautiful, warm song. The third movement, "Scherzo,’ half-sad, halfglad, was on the borderline between sorrow and serenity. "Presto _ Agitato’ concluded the sonata, feverish, passionate, the music demanding chords as heavy as the hands could stand

“Sonata ” bv Debussy, was an unusual choice and to most concert-goers Quite new. As Madame Kraus mentioned. the style of the sonata, when written, was new and the composition used the violin and pianoforte in an entirely new manner It had been hitherto unknown that one could produce from both instruments such unlikely sounds, bizarre, unusual, subtle. She compared the style ot the sonata to surrealism in colours, and said that it demanded a special approach, the movements were “Allegro Vivo," “Intormede’' and “Finale, tres amime, and to the whole composition was brought infinite variety, colour and atmosphere. The violin held some beautiiul passages and an unusual sustaining pedal technique was noted from the pianist. Climax of Programme

The climax of the programme came with the presentation of the ninth ot the 10 Beehioven sonalas, which was dedicated by the composer to the foremost violinist of the time, Kreutzer. It is important to note that the composer’s tilie of the work is in the following form: ’Concerto tor the pianoforte with accompaniment tor the \iolin. A brilliant, buoyant, composition, the two performers reached great haignts musically, and penetrated the very "soul ot the composition. The first movement, broad and sombre, ‘Adagio sos’.enuto—Presto” was followed by the serene and calm "’’Andante Con Variazzionni” the second movement being one of the highlights of the whole splendid sonata. "Finale ' (movement three) included a tarantella rhythm in six-eight time, the beauty ot tone in the first movement being here u-ansfoimed into a graceful and most electrifying dancing movement. So completely satisfying was this performance that one was moved to envy city-dweliers who had the opportunity of hearing the complete cycle of 10 Beethoven sonatas. Sustained applause again greeted the artists at the conclusion of this work and Madame Kraus was presented with flowers by Mrs. 11. F. Wise.