MOISEIWITSCH.

Hawera & Normanby Star, Volume XLII, Issue XLII, 23 June 1923, Page 10

MOISEIWITSCH.

The great Russian pianist Moiseiwitsch plays more Beethoven than perliaps any visiting artist of recent years. In. a notice of a concert in Sydney, the Morning Herald says: — Beethoven's last sonata—C Minor, Op 111., was a splendid intepretation, especially in exemplifying the composer's grand manner. The two movements of this work are preceded by a majestic introduction opening on an arresting discord, and subsiding on a suggestion of distantly rolling thunder. Comes the "allegro con bri >," the first subject of which is generally supposed to have influenced Mendelssohn in his "Rondo Brillante in B Minor. 1' The left hand passage in octavos which introduced the theme contributed to the general character of th© movement,: with its sudden dramatic changes!' These were all powerfully emphasised by the artist, who, along with the mas-' terful brilliancy of his execution in the fugato sustained an atmosphere of mystery and apprehension such as in the kindred art of the drama is experienced during Macbeth's meeting with the witches on the blasted heath. The beautiful arietta forming the adagio, though not so endeared to the heart of youthful memory as slow movements of the earlier sonatas heard this season, was beautiful in its anthem-like effect' due to the tender softness with which it was voiced to the softest accompaniment that could be imagined. Mr. Moiseiwitsch was especially admired for the poetry with which he clothed the variations, his great technique enabling him to exhibit a murmurous charing and on this expression (after various other phases) the great- work ended ™th a tender trill of fading rapture. The sonata is not popular, as are the old hall-marked favourites, but it is not difficult to follow and appreciate warmly.

Of his other work, the critic says: — Schumann's "Kreisleriana" of eight fantasies is a tough proposition, "in each of the eight long numbers there is an abundance of contrast, occasional touches of inspiration, and an intimate knowledge of the instrument addressed ; but the general effect is academic, and aloof from the listener. Mr. Moil seiwitsch was recalled again and again with the desired resnlt of an extra number—"The Prophet Bird." A group of beautiful Chopin pieces ended in the "Ballad P Minor," which the pianist brought to an overwhelming termination through colossal executive ability, a?id he acknowledged the bursts of applause with Chopin's "F Minor and F Major Etudes." The programme closed with the fascinating Liszt showpieces, one on Isolde's "Liebestod," the infinitely sad melody worked up' to a phase of aspiring grandeur; and a Mozart theme from "Don Giovanni," with marvellously clever variations on the duet "La ci- darem la Mano," involving no little mnemonic effort on the part of the triumphant executant. The "Passepied" of Delibes, and the "Bourres," by Saint Saens, for left hand only, formed the extras.