ISADOR GOODMAN A Master Of The Piano

Wanganui Chronicle, 29 April 1949, Page 4

ISADOR GOODMAN A Master Of The Piano

(By

H.C.J.)

The dictum of Victor Hugo that “true art is the region of equals, there is no supremacy among masterpieces,”' was recalled to mind as Isador Goodman’s programme unfolded itself last evening at the Opera House. Goodman is a disciplined player, he is an intellectual and when he is playing his whole being is under control. He is sensitive to an extreme degree but nevertheless it is the mind that, controls the emotions. Hence it is that he never loses his own poise, his playing does not proceed from a temporary emotion, but is the interpretation of what he has long been striving to attain.

This intellectual grasp is possibly Ihe reason for his complete domination of his audience ‘This is what I desire to tell you” he seems to be saying, no matter whether he is playing the Chaconne in D Minor (Bach-Busoni) with its light and shade with which the programme opened, or whether the liquid passages are thrilling forth in the Sonata in B Minor Op. 58 (Chopin). This sonata was like a bird singing in a tropical forest or a poet singing lyecause he must, his song in a distraught world that oppressed his spirit. Not that Goodman’s mood cannot change, but he is against violent ossilations and closed the first part of the programme with the contemplative Impromptu in F Sharp Major (Chopin). i Three Debussy numbers, the sensitive Clair de Lune, the tocatto La Serenade Interromptue and the fantastic Golliwog’s Cake Walk provided a very generous interpretation of that composer, while from Prokofieff’s work he selected Prelude Op. 12, Rigaudon, and Scherzo Humouresque. The Brahms numbers, tremendously popular with the audience, were Ballad in D Minor. Op. 10, and Rhapsody in B Minor. Then the audi nee had the unusual experience of a composei playing his own composition. The New Guinea Fantasy is rousing, and at the same time intriguing: it is extremely doubtful and as proclaimed, it is impressionistic The first experience is somewhat overwhelming and it is difficult to come to an assessment of the composition. All one can say is that it rs arresting and stirring, hut the nuan-

ces are not likely to be grasped a' one hearing. The more fortunate ones, and they are few, might do so, but not so the average auditor. The final programme number was Liszt's Hungarian Rhapsody No. 2, which carried tne audience lo its high pitch of enthusiasm. Very generously lhe artist added The Music Box (Lindon), Flight of the Bumble Bee (Korsakov) and La Campanella (PaganiniBusoni). Seldom does a recital move so sseedily through a Ivvo and a quarter hours of lime. Isador Goodman is of the elect, that is all there is to say of him.