SHURA CHERKASSKY.

Otago Daily Times, Issue 20536, 11 October 1928, Page 16

SHURA CHERKASSKY.

SECOND RECITAL Shura Cherkassky, the youthful Russian pianist, gave his second recital at His Majesty’s Theatre last night, and again delighted his audience with his playing. It was of a brilliant character, and made an even greater appeal to his audience than on his first appearance. Cherkassky’s first number was Bach’s “ Chromatic Fantasy and Fugue.” The opening was treated with delicate felicity aud skilful execution, the pianissimo work being beautifully played, and so was also the more florid ; music. The performer gave a splendid | interpretation of Bach’s great work, his j playing being marked throughout with artistic insight. Beethoven’s “ Moon- I light Sonata ” followed, and it was one of the successes of the evening. The adajio was beautifully presented, the flowing rhythm being charmingly rendered. The melodic effects of the allegretto were brought out with fine spirit and abandon, and in the third movement, the presto agitato, 1 the audience were treated to the same rapid spectacular playing, but the wonderful technique and sure touch of the artist enabled him to invest each note with striking distinctiveness. It was apparent that this number hod a particular appeal for Cherkassky. He was wrapped up in the music, and his magnificent performance was awarded with loud applause. The “ Ballade in A flat major,” “ Nocturne in D flat major,” “ Mazurka in F sharp minor,” and “ Polonaise in A flat major,” by Chopin, followed. The ballade was interpreted with full regard to its rhapsodic character, the firmness with which the bass was handled, being particularly noticeable, while the bell- | like notes of the treble were daintily treated. The playing was indeed invested with a splendid artistic insight of the spirit of the music. The nocturne was played with charm and graceful light and shade, and the brightness of the mazurka, with its ap- \ pealing rhythm, was fully appreciated and interpreted. Cherkassky’s playing of the “ Polonaise in A flat ” was eagerly awaited, j This familiar number has been played in j Dunedin in the past by many pianists j who have achieved fame, but it can be ! stated without exaggeration that none of j them has eclipsed Cherkassky in Its | presentation. The black notes are 1 largely called on in this number, and it | has to be treated with vigorous animation. Cherkassky simply revelled in his work. He produced a wonderful volume of sound, but never sacrificed the music simply to obtain spectacular effects. The performance was full of colour, and it was magnificently rendered from start to finish, the audience being aroused to enthusiasm as the last chord sounded and recalling Cherkassky several times. Two short pieces, “ L’Orient and L’Occident” (M. Dvordsky) and “Rush Hour in Hongkong” (A. Chasius) came next and served to show the artsist’s brilliant technique, the runs and trills of the lastnamed number. Liszt’s “ Hungarian Rhapsody, No. 12,” was the last number on the programme. Here all the resources of the performer were called on. The piece is beset with difficulties, but the varying moods—the alternating nianSsfano aud crescendos—were magnifi cently presented. The playing must have Imposed not only a strain on the artist’s technical resources, but also on his physique, but he came through the test with flying colours. Ho achieved indeed an artistic triumph. The audience displayed no intention of leaving the theatre at the conclusion of the programme, and they were not content till Cherkassy came back and played no fewer than five more numbers. After listening to the lengthy programme, so brilliantly presented, one could not help visualising the years Cherkassky—he is only 17 years of agemust have practised to have achieved his striking musicianly skill and artistry, and that is quite apart from the effort required to memorise all the numbers ho has in his repertoire. TO-NIGHT’S PROGRAMME. The final concert of the season will be given at His Majesty’s Theatre to-nigbt, when a remarkable programme will be given. Commencing with the BachTausig " Toccata and Fugue,” he will follow with Schumann’s great work " Garnival,” then the immortal Sonata in B flat minor by Chopin, which includes the famous “ Funeral March.” Miscellaneous works will include “Tango” (Albeniz-Godowsky), “Moment Musical ” (Schubert-Godowsky), “ Minuet ” (Paderewski), 11 Zouave’s Drill” (ManaZucca), “Naila” Waltz (DohnanyiK and by request the “ Blue DamibeJ’ Waltz, and the Chopin Etude Op. 25. No. 12. The box plan arrangements are advertised.