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
(No description added)

Felix Cherniavsky - Maud Allan Australia Tour 1914

Discover Placeholder
Description
The description of this Item
Collections
The collections that this item appears in.
Maud Allan Research Collection
Tags
Tag descriptions added by humans
Identified Objects
Description of the objects in this Item

Auto-generated content

Auto Tags
Tag descriptions added automatically
text newspaper book photo
Auto Objects
Auto-generated identification of objects in this Item
Auto Description
An autogenerated description of this Item
Text, letter
Face count
Auto-generated number of faces in the Item
0
Accession Number
DCD's accession number for this Item. It is the unique identifier.
51.2008-1-35
Original Filename
Extracted text
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