Felix Cherniavsky - Performing Artists Touring Australia, 1914

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

Maud Allan 704 51 2008-1-36.jpg
Maud Allan 704 51 2008-1-36.jpg
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Felix Cherniavsky - Performing Artists Touring Australia, 1914

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Maud Allan Research Collection
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day From same Saland some paper on same Melbourne 22/6/14 . The Age v ire . 1716114 P10 22/6/14 1 a a 18 to 38 op . li . HAROLD BAUER CONCERT . AUDITORIUM . - HAROLD BAUER The third concert of Harold Bauer's pre RECITAL , The Age sent senson was given at the Auditorium last nigat . The great pian.st bad com A large audience attended the fifth re piled programme which , in spite of its cital of pianoforte music given in Mel . classical nature , was yet if strong popular bourne by Harold Bauer . The programme appeal , including as it did Best Govers included the Brahm's Waltzes , op . 39 ; Bee Appassionaia Sonata , Scuumanu's Car- thoven's Sonata in C sharp minor ( familiar naval , familiar copiu group , Men ly known as the " Moonlight ” ) , Schumann's delsohn's kondo Capr.co00 , aud & con . cludang Luszt Strecuun . Wita vivid Fantasiestucke , op . 12 ; Chopin's Berceuse memories of Harold Bauer's fine perform and a Scherzo in B flat . minor - Saint ance of Bach's Italian concerto at tne Saens's arrangement of ballet aire from second concert , it is not unnatural that Gluck's Alceste , and Liszt's Maphisto certain section of the audience Waltz . anxious near him play the same com The originality of all the work of this noser's Chromatic tantus.a and Fugue De fine pianist was strikingly apparent on Sat. fore the end of his season ; alcaough it u relay night - especially , perhaps , in his in must be con essed that the programe ad terpretation of the familiar Berceuse by vertised for to - morrow n.gut couta.ns one Chopin . Harold Bauer plays it at a greater i work which may rank in epic grandeur speed than is usually considered to be the even with the Chromatic Handala itsest , traditional tempo , and with a colorless namely , Beethoven's Donata in C minor , treatment of the melody that no other pianist has attempted before him ; but the Leet the foregoing might seem to imply result was to throw a new light on the a lack of appreciation of last n.gal's pro beauties of this almost too - well - known gramme , it must be recorded that Harold piece , and the pianist thus gave yet an Bauer's complete succies 2105e as mueb other illustration of an individuality that , trom the sea ually mrucal as from the while it surprises , never oversteps the purely pianiste qua.ity of his work . It bounds of legitimate art . An excellent in . was again evident that he stands alone terpretation of Schumann's Fantasiestuck among contemporary pianists -- so entirely was especially notable for the beautiful sione , perhaps , that it wou.d be impossi01e versions of vie sections entitled Fabel and to sega to nim any cumparative niche in Traumeswirren ; while the Liszt Walte pro the temple of fame . It is uncent for us vided the opportunity for a display of in Australia , as it is for those in Europe dazzling virtuosity . No pianist of a like America , to accept him as he is capacity has yet visited this country , and L'eat pianist and great artist . an uncertain but really musical public is bere were many points of interest in earnestly advised to attend the remaining Harold Bauers very fine performance of recitals of a great artista the Appassionata Sonata last night . The Mr. Bauer's sixth recital takes place to unexpected uote of aded tenderness in the night , when the programme will be devoted second subject of the fint movement in entirely to Chopin's compositions , including the recapiiuative section , the virility of the the Sonata in B flat minor , in which the finale , and we warm rozuance of tue slow famous Funeral March occurs . The seventh movement were merely details in a splen recital takes place on Wednesday even did interpretation of a noble work . ing , and the final recital on Thursday after Schumanns Carnaval - that fascinating Doon . series of variations on a theme , of four notes - wae reocived with enthusiasm , and the pianist was induced to add the iancaful Vogel als Prophet ( so frequently heard in Melbourne concert rooms of late ) . Harold Bauer's reading of Schumann's music is often very different from what is generally accepted as traditional . The many vigor ons moments are treated with what may be called a more " steely strength than we are usually accustomed to ; but this pianist makes us see matters from his own part of view , and we quickly learn to aecept his interpretation not only with respect but with admiration . Chopin's Ballade in G minor , the E major Nocturne , and the A flat Polonaise were entirely enjoyable , as also was Mendelssolin's too rarely heard Rondo Capriccioso . The liszt comprised the delicate Waldesrauschen , the group Elungarian Rhapsody No. 13 , and ( as an en corel the same composer's arrangement of Behubert's Erl King . In spite of the bril liantiy executed Rhapsody , it was impos wible not to regret the banishment of the almosphere of a memorable evening's our which was the natural result of dazsling , but largely commonplace , ition . TOWN HALL . - MISCHA ELMAN . On Saturday afternoon Mischa Elman gave the last of his present series of re gitals . The Town Hall held a large and enthusiastic audience , and it was evident that the famons Russian violinist has won his way into the affections of Melbourne's music lovers . The programme opened with effective transcription of Sibelius's orchestral tone poem Cinlandia , for the organy which was ably performed by Dr. L. G. Price , the City Organist . An aria from Arrigo Boito's Mephistopheles - the Italian poet - composer's youthful work that still awaits its successor was well sung by Mile . Eva Gauthier , who was warmly recalled for her excellent work . Later in the afternoon the game artist sang Haydn's characteristically spontaneous My Mother Bids Me Bind My Hair , Chanson du Tigre ( from Victor Masse's opera Paul and Vir ginia ) , and Jacques Daleroize's Ma chere Maison - the latter a well deserved encore . Mischa Elman played two concertos -- the first being Max Bruch's well - known example in G minor , and the second beautiful and unfamiliar work by Vivaldi - arranged with accompaniment or piano forte and organ by NachexOf the first it is unnecessary to say uything further than that Mischa Elmaz played it be was expected to play it with great beauty of tone , easy mastery of its technical ditt culties and with a fine sense of its emo tional purport . The chaste loveliness of the Vivaldi concerto , however , calls for particular mention- for not only is the work comparatively little known in this country , but the capital arrangement by Nacher , wherein the organ and pianoforte combine so effectively for purposes of ac companiment , was in itself an interesting feature of the afternoon's concert . Dr. Price's restraint and judgment at the organ kad a full share in the succens of the per formance of this very beautiful work . The combination of organ and violin in the Back O string aria was , however , not so satisfactory -- the usual pianoforte accom . paniment being far more suitable to thrin noble , long - drawn melody Mischa Elman also included Ernst's bril liant Otello Fantasia , Wilhemjs arrange ment of Wagner's Preislied , Mozart's Pan tomime and a glittering etude caprice by Paganini - Auer . There were , of course , many encore almost too many consider ing that the little concert party had to leave for Sydney immediately the matinee 13 over . Once more Mr. Percy Kahn proved himself to be a most able accom panist .