JASCHA SPIVAKOVSKY

Otago Daily Times, Issue 18624, 4 August 1922, Page 6

JASCHA SPIVAKOVSKY

A BRILLIANT ARTIST. An era comprehending visits by instrumentalists of distinction to this port of the world seems to be setting in again. To recall the pleasure and privilege of hearing in Dunedin such artists as Paderewski, Carreno, and Hambourg, to mention names that come immediately to the mind, is to look back some years. By virtue of association of ideas a pianist is surely well recommended in being a Russian. Jascha Spivakovsky appears in our midst as the exponent of a great art in the very heyday of youth, and on the threshold of what should be a smiling professional future. In these days the task of the pianist who essays. to roach the very highest niche, winch it is given to but few to attain, is more laborious, doubtless, than ever. In perfection of art lies hidden much that only the initiated can appreciate. Jascha Spivakovsky, bo it said at once, is an astonishing performer in essential respects. He has a marvellous technique, capable of encompassing all things on the keyboard, and is already the thorough and finished musician 'who takes his art in all seriousness. Ho has manifestly temperament, and this, together with individuality, maturity should further develop. He does amazing things on the piano without effort, is brilliant in everything that pertains to the executive side' of his art, ia an interesting interpreter, and gives an impression of reserve force out of which still greater robustness may emerge.

A bleak night is apt to beget a bleak audience. It was not so at His Majesty’s Theatre last evening when Jascha Spivakovsky submitted his first recital. The audience was both large and highly appreciative. It is surely no easy matter to place before a mixed audience a purely instrumental programme that will suit all tastes. It is a pretty safe course in such circumstances to proceed along traditional lines. The very modem composers did not figure on the pianist’s initial list. On the other hand his programme provided an excellent test of attainment in the interpretation of some' accepted classics. Upon the score of their conventionality something might be said in criticism of the programmes of most visiting artists, and Spivakovsky’s programme last evening certainly followed the stereotyped lines to which we seem to have become accustomed over a long course of years. However, a large proportion of concert-goers are glad to hear the compositions with which they are familiar, rather than those which are newer and have perhaps yet to fully establish their claims. If our musical horizon is not broadened by a continual hearing of the conventional test pieces, it may at least be said that ia their presentment a definite challenge of comparison is offered.

The recital opened with the -well-known Bach-Liszt organ fantasia and _ Fugue. Bach, to whom in Schumann’s verdict music owes almost as great a debt _as religion owes to its founder, composed his celebrated G Minor Fugue, according to competent reckoning, just over two hundred years ago. Hw great glory is considered to be his - wonderful polyphony: ' “in _ his work every voice is melody, everything sings, there is no dead wood, no flaccid feeling.” The rendering given this item was a most worthy introduction, and, indeed, the pianist reached therein a standard which ho did not subsequently surpass. He made the Fugue thoroughly impressive, and handled it with a reserve yet with a brilliance by no means on the footing of mere executive display. It was a piece of finely tempered musicianship in keeping with the best traditions, a success worthy of the highest praise. _ , The succeeding Sonata in F Minor, one of the three written by Brahms for the pianoforte and. representative of his earlier work, gave the pianist many opportunities in its varied movements. Johannes Brahms has been the subject of a deal of controversial discussion, his admirers lauding him to the skies, his critics lauding him. not at all. By a groat contemporary _he was hailed in his day as a future musical Messiah even when he was only known by his piano sonatas. That was intended as a pill for Wagnerites. Barnard Shaw has referred to Brahms as “that greatly gifted and absolute musician, and hopelessly commonplace and tedious homilist.” By _ absolute music is signified instrumental music neither dramatic nor descriptive, but designed to affect the hearer solely by its beauty of sound and grace, and ingenuity of pattern. It is sometimes urged that the melodic and harmonic complexity which results from the methods of Brahms is productive in many of his compositions of a lack of warmth; in fact, a tiresomeness, that_no technical skill can overcome. Jascha Spivakovsky certainly entered upon a big ordeal in presenting the Sonata, and emerged therefrom with high honours. His treatment was throughout thoroughly interesting, and could not fail to give the impression of presenting a very thoughtful and sympathetic reading. Especially conspicuous were the perfect refinement and delicacy, the poetic and graceful handling of the Andante movement. It is quite likely that many in the audience, inasmuch as the recognition of beauty is, after all, a good deal dependent on acquaintance and familiarity, did not find_ the lengthy composition of compelling interest ip its entirety. The composer has certainly netstriven after big effects such as are found in some of his later work. In coming to his Chopin group, the pianist was entering upon more popular ground. The first of the numbers was the captivating Berceuse, treated perhaps a trifle pdamstically. This was followed by the Etude in G flat major, commonly called the “Butterfly Study,” a delightful contribution full of freshness and vitality. A repetition was insisted upon by the audience, and the pianist next throw himself into the vigorous bravura passages of the C Minor Etude, the “Revolutionary Study” so-called, creating a profound impression. Next followed Chopin’s rarely heard Bolero, given with a rhythm and dexterity in keeping with the theme. In response to most enthusiastic recalls, the pianist contributed Liszt’s familiar “Liebestraume” with masterful facility. If a tendency towards sheer virtuosity was discernible in the latter part of the programme, it was doubtless excusable. Audiences as a whole love virtuosity. Finally, Jascha Spivakovsky came to his announced Liszt numbers. He gave the “Gnomenreigen” with amazing deftness, and ended his programme with the Paganini-Liszt “Campanella,” most brilliantly handled. The enthusiasm of the recall permitted no avoidance of a further contribution, which took shape in the melodious “Music Box.” Even then the audience was reluctant to admit that the artist had accomplished a sufficiently exacting task foi one evening, . The second recital will take • place tomorrow evening, when the programme will include the Moonlight Sonata, extracts from Bach, Schumann, Chopin, and Liszt, and a group representative of the modern composers.

RECEPTION TO MR SPIYAKOVSKY. In the Savoy Lounge during the afternoon, Mr Spivakovsky was tendered a seroipublio reception at the invitation of Mrs Richard Hudson, who invited a number of guests to meet the visiting pianist. The room was tastefully decorated with early spring flowers and coloured lights, and there was a large attendance of representative citizens Trie guests were met at the entrance by Mrs Hudson, and introduced to Mr Spivakovsky and his manager, Mr Maurice Ralph. At the request of Mrs Hudson, Mr H. L. Tapley extended a wry hearty welcome to" the visitor both on behalf of the Overseas Club, of which he is president, and the citizens generally. He did not need to assure their guest that they were very glad to see him, Dunedin yielded pride of place to no other part of New Zealand in its love of music, and ho thought wo were specially privileged in having our distant shores visited by so great an artist. The Overseas Club always looked forward with great, pleasure to welcoming distinguished visitors from abroad, and they wore not only welcoming Mr Spivakovsky as a representative of the nation who was our ally at the outsot_ of the war, but as a great musical genius. From what they had read of him they 'believed tliat ho did not occupy even second place to the groat Paderewski, and they were eagerly looking forward to his concerts. They hoped that lie would have a happy and enjoyable time in Dunedin, and that he woidd carry away many pleasant memories of his short stay.— (Applause.) ’ . , Dir G. W. Johnstone, in the course of a neat speech, cordially welcomed Mr Spivakovsky on behalf of the musicians of Otago. Music played a large and important part in the lifo of this community, and they looked upon his visit as an event of tho very-greatest importance. It was perhaps rather more important to have visits from great pianists than from vocalists and violinists, because the gramophone had done a*great deal to bring these latter within the reach of all, but equal success had not ■been attained in the case of the piano. Therefore it was most important that wo should receive visits from the great masters of the piano. “We are glad,” continugd Mr Johnstone, “that von have unafraid ventured so near the Smith Pole. Levitsky and Heifitz turned back, but Spivakovsky boa come on.”—(“Hear .hoax,” and ap*

planse.) Tfheir ■welcome was generous and whole-hearted, and they were on the tiptoe of expectation to hear his great artistry. Dunedin would be the richer for his visit.— (Applause.) Mr Spivakovsky, on rising to return thanks, was warmly applauded. The warmth of their reception had afforded him much pleasure, and he desired to thank his hostess. Mrs Hudson, for giving him an opportunity to meet so many of the people of Dunedin. .He also wished to express his gratitude to Messrs Tapley and Johnstone for the kind things they had said. Continuing, Mr Spivakovsky said that as he had only left England by the Orvieio onJanuary 21 his opportunities for leaving the English language had been very limited, “and I have not words enough to express to you what I would like to express. I appreciate your welcome because I know now that I wall have some friends at the concerts. That is a pleasant feeling, and I will try to give you my best as I could not do knowing that I was a stranger. I wish to express my thanks to all here present.’’ Afternoon tea was then served, and an hour was pleasantly passed in social intercourse. Sonffs were rendered by Mrs Hudson and Mr Gemmell. the accompaniments being played I v Mrs Mason. At the close of the proceedings Mr Maurice Ralph, as the pianist’s manager, and also as the representative of Messrs J. and IN. Tait. thanked Mrs Hudson and Mr Bennell for arranging the function and giving Mr Spivakovsky an opportunity to feel at home. In resnect to those tours business was not everything.: It was their desire to do somethin!! towards _ educating and improving the public taste m music. ( P* pla-uso.) '