IGNAZ FRIEDMAN.

New Zealand Herald, Volume LXIV, Issue 19691, 18 July 1927, Page 12

IGNAZ FRIEDMAN.

A MASTER PIANIST. THE OPENING RECITAL. NOTABLE TRIUMPH ACHIEVED. The Town Hall on Saturday evening was the scene of yet another musical triumph, when the famous pianist, Ignaz Friedman, made his first appearance in Auckland before a large and discerning assembly of music-lovers. After hearing Friedman on Saturday evening, it may be freely acknowledged that we are privileged to live in days when piano mastery could scarcely advance further. Like all geniuses, lie is a law unto himself, standing in enviable isolation on the pedestal of his art. Such is Friedman's sovereign mastery of technique that the uninitiated might be pardoned for assuming the difficulties of many of the solos he plays to be much less formidable than they actually are. Even many of the appealing encore pieces given at this recital would sufficiently test the executive powers of many pianists whose facility is unquestioned. His interpretations are largely individual, and in many of the better known solos it is evident that the so-called traditional renderings have little attraction for him. This newness of outlook was in many instances refreshing, and gave an added zest to some familiar selections.

Friedman opened with Mozart's "Hondo in A Minor"«md Hummers "Rondo in E flat Major," both products of the same school of composition, and teeming with much florid ornamentation and many vivid passages which demanded finesse in treatment. These made an admirable foil to the colossal "Variations and Fugue," written by Brahms upoi. a theme by Handel. Here the pianist revelled in producing the most bewildering effects. The theme was treated from every conceivable standpoint, and to particularise all the variations is impossible. But the variations were not all, for coming in their tiain as a glorified coda tvas the masterly fugue in which Brahms has completely assimilated the style of Bach. This truly magnificent peroration brought to a conclusion one of the most notable performances ever heard here.

The Chopin group was well chosen, and was much appreciated. First came the "Polonaise in B flat Minor," the passages of which wore handled with singular gracefulness and poetic insight. Fancy ran unfettered in the moody "Mazurka in B flat Minor," and some fine contrasts of tone were secured. A somewhat unconventional reading was forthcoming of the "Valse in A Flat," while the grandeur of .the "Ballade in G Minor" was fittingly depicted. The undulatory melody of the "Moderato," as well as the crashing chords and brilliant scale passages which concluded this noble work, were rendered with distinction.

A group of three Chopin etudes included to the joy of all students present the "Butterfly" etude. Friedman's own composition, " Tabatiere a Musique," in imitation of a music box, was dexterously played, and made a strong appeal. The boy friend for whom it was written some years ago must, however, have found his fingers busily engaged in mastering its many complexities. Liszt's admirable setting of Schubert's song, "Hark, Hark the Lark," found its beauties fully set forth, while the favourite "Liebestraum" in A flat (Liszt) had its enticements presented with more originality than most pianists assume. It was enjoyable, nevertheless, and won hearty applause. The concluding "show" piece was the Paganini-Liszt "La Campanelli," which was played with rare abandon. The full range of keyboard difficulties, embracing wide skips, octaves, chords, and rapid repetition, as well as the resounding climax, were overcome with ease by Friedman, who had to return again to the stage upon the conclusion of the study. The great pianist contributed many "extras" during the evening, these including "Ballade" (Gluck-Friedman), "Elle Danse" (Friedman), "Scherzo" (Mendelssohn), "Viennese Dance" (Gaertner-Fried-man), and a selection from Wagner's "Die Walkure." Friedman will give the second recital of the series at the Town Hall to-morrow evening, when a noteworthy programme will be presented.