Felix Cherniavsky - Maud Allan Australia Tour 1914

Added 18th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 18th Mar 2022

Maud Allan 662a 51 2008-1-35.jpg
Maud Allan 662a 51 2008-1-35.jpg
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Felix Cherniavsky - Maud Allan Australia Tour 1914

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Maud Allan Research Collection
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51.2008-1-35
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The ge Melbourne ) June za 1914 grasp of KING'S THEATRE MAUD ALLAN AND THE CHORNIAVSKY TRIO . An immense audience we present at the King's Theatre on Saturday night , when The clerer Cherniavsky trio , Leo the an entire change of programme marked violinist , Jan the pianist , and Mischal the the commencement of the second week of cellist , all gave convincing proof of their musicianship . A few years ago they were Maud Allan's brief season in Melbourne . regarded as wonder - children , but now they In order to do full justice to the genius have entered the ranks of mature artists , of Mand Allan it would seem necessary to and Taust be regarded as such . To an audience that comprised a large section of impannel a jury composed of accredited res the popular element , the chamber musie presentatives of the fine arts -- for her re of Tschaikowsky and concertos for violin markable powers partake in various degees and orchestra by Paganini and Liszt must of the caracteristics of music , the dance , have come as an unexpected experience ; painting , scuipture and poetry . Not very but , apart from a couple of noisy indi viduals in the gallery , who were inconti many years ago Maud Allan was a student nently suppressed , the purely musical por : at the Berlin Hoch Schule . Her original tions of the programme were listened to ambition was to become a famous pianist , with interest and received with en but circumstances combined to frame her thusiasm The Onchestra , under the alert life - work into a shape that differed in some and most capable direction of Mr. Frank St. Leger , did work that was sometimes measure from her anticipations . Yet it surprisingly nood when all things are must be pointed out to all who would taken into consideration . In spite of a lack understand her perfect art that she is as of balance - anavoidable in the circum much an interpreter of music as though stances , which demanded too lange a num . ber of wind instruments for the available she were an instrumentalist or .singer of the first rank . Her complete realisation of strings -- the Overture to Mozart's Figaro , the Salome music and the accompaniments the hidded yet living spirit of such works to Liszt's Hungarian Fantasie for piano as Chopin's Etudes and Preludes is some- forte and orchestra , were creditably thing to compel the wonder and the ad played In the latter work Jan Cherni miration of a musician . It is as though avsky made a great impression . His inter the very soul of music were made visible . pretation was marked by an admirable while the material technicalities of the art the essential spirit of the are relegated to the background . The rhapsodie music , and also by the brilliance emotional impulge that is the seed from of hie technique . He was recalled several which the flower of art springs is seized time , and added Paderewski's Mintet and upon with anerring instinct by Maud a Toccata by Lescheticky encores Allan , whose fine perceptions and cultured Michel Cherniareky chose for his cello emotional understanding enable her to ex- polos a beautiful Cantabile by Cui , Pop press the inner meaning of the music of per's Arlequin , and as the extra numbers great composers . The artificiality of the the latter componer's Pappilon and The dance , as known to the world for many Broken Melody ( Van Biene ) . The early hundreds of years , in banished entirely promise of Mischel Cherniavsky is being from the art of Maud Allan . She has re- amply fulfilled , and the future will hear verted to the days when the world was more of him . A few lapses from true i younger - when emotion found ite highest Donation apart , Leo Chernia vely cave a expression in the beautiful movements of a spirited performance of Perinini's Violin beautiful body . Only to such as may com- Concerto No. 2 , in D major -- the well prehend the eternal nature of absolute written cadenas being from the artist'e beauty will her art sppeal in its fall signifi . own pen . In the early portion of the pro cance - as Browning says , " The rost may gramme the Cherniavsky brothers gave an reason and welcome : ' tie we musicians enjoyable rendering of Technikowsky's A know . " minor Trio , in which collectively and indi The programme on Saturday night in- vidually they were heard to advantage cluded a selection from Chopin's Prelades , the sensitive and delicate work of Leo op . 28 - Nos . 4 , 12 , 17 and 19 ( severally Cherniavsky being partioularly noticeable . embodied as Sorrow , Dexpair , Hope and Neither the acoustice nor the atmosphere Joy ) ; and the stuches in C minor and G of a theatre are conducive to the proper flat from Chopin's op . 10 , to which the effect of chamber music , but in spite of suggestive titles of A Soul in Bondage and adverse conditions the efforts of the Capture of the Elfin Steed were given . Ex- Cherniavsky brothers met with thoroughly quisite in every detail , the work of the deserved success . artist was here supreme . Of the Vision of Salome much has been written since December , 1906 , when Maud Allan gave her fir performance of the TOWN HALL - MISCHA ELMAN . scene in the Royal Opera House , Vienna , at which a select andience was present by On Saturday afternoon Mischa Elman invitation , Praise has been lavighiol upon gave the last of his present series of re ner invariably for the wonder of her art as citals . The Town Hall , held a large and manifested in her portrayal of the daugh enthusiastic audience , and it was evident ter of Herodias , while objection has been that the famons Russian violinist has won taken in certain quarters to the morbid and unhealthy nature of the subject . Cere his way into the affections of Melbourne's tainly , from a technical point of view , her music lovers . The progcamme opened with art is entirely convincing : No spoken effective transcription of Sibelius's work of the actress could convey what orchestral tone poem Einlandia , for the Maud Allan conveye by the sinuous and subtle grace of her dancing . Her success organy which was ably performed by Dr. is complete . Aided by the beautiful scenery L. G. Price , the City Organist . An aria of Hawes Craven and the suggestive music from Arrigo Boito's Mephistopheles — the of Marcel Reiny , Maud Allan creates en Italian poet - composer's youthful work that atmosphere that is intensely characteristie still awaits its successor -- was well sung of a particular phase of art . The phase is by Mlle . Eva Gauthier , who was warmly unhealthy , and one that takes no account recalled for her excellent work . Later in of the nobility or sweetness that lie at the the afternoon the same artist sang Haydn's roots of all supreme art - whether the sub- characteristically spontaneous My Mother ject be trgie or otherwise - but none the Bids Me Bindly Hair , Chanson du Tigre less the purely technical triumph of Maud ( from Victor Masse's opera Paul and its Allan in the Vision of Salome is not to be ginia ) , and Jacques Daleroizë's ale chere denied . This extraordinary will , Maison - the latter as well deserved of course , attract the curious public , and ancora must inevitably add to the fame of the artist in Australia , but it must not be forgotten that the ideal Mand Allan is the Maud Allar of Mendelssohn's Spring Song , the Peer Gynt suite , of a Brahms waltz or a Chopin nocturne . noon . The Ago . June 2013/14 scena

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