Pouishnoff and Stevens Are Two Great Artists

Manawatu Times, Volume LIX, Issue 7493, 18 June 1934, Page 8

Pouishnoff and Stevens Are Two Great Artists

Visits of two world-famous artists such as Leff Pouishnoff and Horace Stevens aro rare experiences in the musical life of Palmerston North, but those who were privileged to hear these distinguished visitors at tho Opera House on Saturday evening came away satisfied they had been offered a rich feast of music, but longing for more. Equipped with wonderful hands, a touch of raro delicacy—elfin-sweet yet crystal-clear —combined with the gift of poetic interpretation, Pouishnoff could not. fail to enthral. Tho measure of the enthusiasm of the audience at tho conclusion of his Chopin bracket may be gathered from tho fact that tho artist responded with no less than six encores. His first programme number was the Bach-Liszt Organ Prelude and Fugue in A minor,” tho masterly rendering of which was an inspiration to students. Tho artist demonstrated a fine sense of phrasing and appreciation of tonal values, liis technique being also brilliantly exemplified. The performer’s own arrangement of tho Ballet Music from ‘ ‘ Rosamunde” (Schubert) showed intriguing development, exquisitely rendered, and tho well-known ‘‘Andante e Rondo Capriccioso” (Mendelssohn) was faultlessly played. Pouishnoff gave a restrained but nevertheless satisfying interpretation of vho ‘‘Appassionata’’ Sonata (Beethoven), his hands being fascinating to watch, particularly ia the last movement, taken at amazing speed, in which his fingers flew like magic. It was in tho Chopin bracket, however, that Pouishnoff reached the greatest heights, and it is safo to say thero has been no more satisfying exponent of the great Polish composer heard in the city. His first choice was tho Etude in A flat major, its tender singing melody, as played by this artist, leaving a lasting memory. Then followed tho restless F minor Etudo and the “Revolutionary” O minor Etude, brilliantly executed. Tho fairy-like touch of the performer was most noticeable ia the lovely F sharp major Nocturne, which was exquisitely treated; but best of all was his interpretation of the C sharp minor Scherzo, played with breathtaking technical skill which called forth sustained applause. As encores Pouishnoff gave “Liebcstraumo” (Liszt), “Voico of Spring” (J. Svtauss), “Musical Box” of his own composition, D flat Waltz (Chopin), a Russian dance, and tho inevitable “Campanella” concluding a notable offering. Acclaimed as tho “greatest living Elijah,” Mr. Horace Stevens, in his opening number, “Hear Me, Ye Winds and Waves” (Handel), quickly convinced the audience of his genius. Possessed of a bass-baritone voice of exceptional quality and range, Mr. Stevens has tho added gifts of perfect diction and control, together with a fmo stage presence. For his second appearance ho gave “Tho Monkey’s Carol” (Stanford), “By a Bier Side” (Armstrong Gibbs), “Hey, Nonny, No” (Benjamin) and “Lovo is a Bable” (Parry), in striking contrast, rendered with sympathy aud restraint. The final group comprised three Shakespearean songs by Roger Quiltcr, “Come Away, Death,” “O Mistress Mine,” and “Blow, Blow, Thou Winter Wind,” wero splendidly rendered, further demonstrating tho artistry of tho vocalist. Responding to insistent applause, Mr. Stevens sang tho old English ballad, “Simon the Cellarer,” which gave amplo scopo for his declamatory powers and tho beauty of his deep notes. Other recall numbers wero an amusing contribution of Hutchinson’s “Old Mother Hubbard,” set to music reminiscent of Handel; the familiar “King Charles,” sung with fine vigour, and Tinman's sea-shanty, “Away to Rio,” appealingly rendered. Mr. Harold Smith was an understanding and sympathetic accompanist. Not tho least evidence of the artists’ ability was their triumph over their hostilo surroundings—in other words, the truly hideous stage settings and tho wintry bite in tho atmosphere.