FAMOUS PIANIST.

Waikato Times, Volume 111, Issue 18642, 21 May 1932, Page 16 (Supplement)

FAMOUS PIANIST.

ARRIVAL IN NEW ZEALAND. BENNO MOISEIWITSCH. REVERENCE FOR SCHUMANN. That there Is always something to learn is a truism more or less accepted universally, hut, nevertheless, to hear it come from one who has reached such a pinnacle of perfection in his art as Benno Moiseiwitsch, the world-famous pianist, is, at least, rather startling. Moiseiwitsch, who arrived in Wellington by the Maunganui from Sydney, even went further, when speaking to a Dominion representative, for he declared that he himself was only just beginning. Moiseiwitsch said that ho had never regretted his choice of career, and he certainly did not think that he would do so now. He felt, however, that since his dehut, in 1909, he had been continually developing musically, until now he felt he was more pleased w’ith his art than ever before. All through the years .great critics and great authorities had praised his work very highly, but he would never say to himself, “They are quite right.” He always took their opinions with a grain of salt, and took his own judgment only as to the standard of his own work.

In the past, Moiseiwitsch said, ha was almost jealous of the popularity which Chopin enjoyed, for it was in Schumann that he saw more greatness, more depth. And, indeed, if he talked in cold blood, he still had a greater reverence for Schumann. But it seemed to-day that he had undergone a kind of metamorphosis or transition during the past two or threa years, for during that time Chopin had got hold of him thoroughly, with the result that he was playing more and better Chopin. He mentioned that during his tour of New Zealand he would be playing 24 preludes at one conoert, and at another 12 etudes, each taking approximately 40 minutes to perform. “I have played enough Chopin in the last two or three years to give six all-Chopin recitals," lie said.

Memorising.

Prodigious memories of concert artists are generally a source of amazement to the average audience, and it is therefore of interest how they learn their pieces. Moiseiwitsch docs not learn a new work page by page; he merely plays it through, noting passages that lie thinks especially beautiful, lie then leaves the piano, and later, just remembering the beautiful passages, lie is able to put it all together. When playing on the platform he does not remember the piece page by page, or visualise the notes, but as soon as ho strikes the first chord he is enveloped in the whole atmosphere; one note leads to the other, and he proceeds to the end. “I often wonder myself how it comes so easily,” he said, “and I sometimes think that if I were in the audience I would wonder how the person could memorise so many tilings. “Take a modern piece,” he said. “It is interesting in a physical way, but it lias very little connection with music; it is an illusion from a pianist’s point of view. It may have certain significance. You realise that that piece was not created from the heart; it was created from the head, and therefore when memorising it you have to recreate it from the brain.” Stravinsky, Moiseiwitsch considered, was a very brilliant man. He had a lot of sense, and there was a tremendous amount of sincerity in his writings. Ho had a great deal to say, although he had a strange way of saying it. He could not be ignored even though one did net agree with him. Encouragement—or Not. Speaking of the question of encouraging or discouraging certain young musicians, Moiseiwitsch said that if he had anyone under him who had no aptitude for music he should have no hesitation in discouraging, hut if that person were just playing from an amateur’s point of view, for his own amusement, there was no reason why he should be disheartened. It was difficult, of course, to know what might cause a person failing, whether it was through lack, of talent, lack of proper surroundings, atmosphere, or bad tuition. Talent, proper surroundings and atmosphere, and good tuition, were all necessary to nourish and nurse the budding musician. Moiseiwitsch considers that orchestral practice is invaluable lo the young musician. Listening to orchestral performances, attending rehearsals, and studying the scores, were very important.

“I am glad to sec that orchestral work is being taken much more seriously," lie said, “in Australia I found a much greater pilch of perfection than a few years ago. In .Melbourne I have just played four concertos with the Symphony Orchestra, and 1 am looking forward to playing with the orchestras there." Moiseiwilsch was rather reticent concerning his mode of practice, but he confessed he practiced all the time. He always carries with him a little dummy piano, by which he is able to exercise his fingers when travelling on boat or train, when no piano is available. He regards this little dummy more as a mascot than anything else, and for 17 years it has been his constant travelling companion.

Molseiwitsch will give a recital in Hamilton on Tuesday, May 31. Musiclovers arc fori unate in having the opportunity of hearing such a worldfamous artist.