Felix Cherniavsky - Cherniavsky Trio

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

Maud Allan 745 51 2008-1-39.jpg
Maud Allan 745 51 2008-1-39.jpg
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Felix Cherniavsky - Cherniavsky Trio

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Maud Allan Research Collection
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LAR 20 Tread 1 Jan 1 1900 1989 of the least distinguished of Chopin's compositions , but Jan played it just as it should be played , with brilliancy and sparkle . If this boy learns as much in the next decennium as he has in the last , he will rank with the world's greatest pianists , but he must give less time to Liszt , and more to Bach and Beethoven . Jan played his brothers ' accompaniments with excellent taste and good understanding . The boys also played three Trios . Haydn's No. 1 in G , full of life , freslmness , and geviality , with its rollicking third movement , is a welcome relief to the ear in these days of cacophony and stridence . Widor's “ Serenade " graceful and distinguished melodically , free from the smallest trace of vulgarity , and likely to please not only the many , but also the select few . The boys were signally happy in this , and also in the Schubert " Moment musical , so rich in poetry , and so free from artifice . The only Ay in the ointment was the out - of - tuneness of the fine Steinway Grand . Nothing since the Carreño concerts has given me so much genuine pleasure as the playing of these richly dowered young musicians . Then there was some singing which I at least could have done very well without . But the management doubt less regards this as a sop to Cerberus , in the persons of the public , and these paddled with evident pleasure in the shallow waters of the English drawing - room song . Madam Marie Hooton , who has a pleasing mezzo - soprano voice , certainly sang Bohm's “ Still wie die Nacht ( to which the accompanyist played a quite unmusical prelude of his own , and sundry wrong notes in the introduction , and in the finale ) , but Madam sang the second verse much too slowly , and her reading of the song was not sufficiently dramatic . Her German diction also is faulty : Deine and liche were pronounced dein - er and “ lieb - er " ; soll , “ so - r - 1 , ” and so forth . Madam's breathing is also defec tive , and her phrasing not always convincing . Subsequently Madam Hooton sang Del Riego's rubbishiy “ 0 , dry those tears , " which , though lacking variety , was better phrased than the previous number . ( 6 was In this song , ( 6 >> 6 46 and also in the encore “ The Ash Grove ” ( in other respects very well sung indeed ) Madam's diction was very faulty . To wit , « fee - er - rs ( fears ) ; " alahrs ” ( alas ) ; « leeft ( lift ) ; those stee - er - rs ( those tears ) ; « dåhr - uk " ( dark ) ; “ hahr - ut ” ( heart ) ; “ mounten ” ( mountain ) ; “ oil ” ( all ) ; ' turr - uf ” ( turf ) . Furthermore , Madam Hooton sings rather frequently out of fune . Her enunciation , however , is much above the average , and she sang the little Welsh song with good feeling . She told the story . Mr. Percival Driver has a powerful basso cantante voice , which if properly produced , would be of good quality . At present he forces his voice , and the quality is reedy and sometimes rasping ( though this may have been due in part to the echo in the hall ) . The voice wants bringing forward , and a tendency to vibrato should be sternly repressed . Mr. Driver sang " The Curfew ( Monk Gould ) Beloved , it is morn ( Aylward ) in an uninteresting and commonplace fashion , and his diction was sometimes exceedingly sinful . Here are some flagrant ensamples : “ soy - lent " ( silent ) ; " sprads ” ( spreads ) ; or - round ( around ) ; " ark ” ( hark ) ; " car - few " ( curfew ) ; " be - lohr ( . ved " ( beloved ) ; _childerun ” children ) ; " ( pray - yay ' ( pray ) ; “ that ty ( that I ) ; “ ' n mine " ( and mine ) ; ( white ) ; " arnd ” ( and ) . Mr. Branscombe's accompaniments were sympathetic and purposeful . and " 97 6 ( 6 ii woit ?