Music
[A PIANIST AND Two SINGERS] THE importance of technical mastery has been continually emphasized in the London concert halls of late. We have heard the Lener players, John McCormack, Mischa Elman, Leo Slezak, the Czech tenor, Gerhardt, Godowsky and Friedman, all great technicians in their different ways. Of these, Godowsky and McCormack appear to me to be the least fallible. Their achievement is of the very highest kind.
Godowsky had not been heard here for thirteen years. The force of his personality lifted the heavy atmosphere. of the ordinary recital. The easiest way to approach his work is to extol his marvellous efficiency, especially after hearing his own transcription of a Bach Violin Sonata. But lie is not confined by merely physical considerations. Godowsky is not only a skilful but a poetic. musician. I do not found this statement so much upon the copious programme notes attending his " Java Suite," as upon his playing of Chopin. Here it is that his full stature is revealed, for here we find the just balance and subtle mingling of imagination and technique.
McCormack's art depends upon his audience's capacity for sentiment. The attributes of his vocal personality induce a mood of melancholy and wistful remembrance. When he sings Respighi's I tempi assai lontani or PeH's Gioile cc canto mio the beauty of his tone .calls up a world of happy far-off days. With the upward gesture of his voice we find that the horizon of our little world is lifted. Only the finest singing can summon us to rise above ourselves in this way. There were some in the Albert Hall who found themselves transported even during a song bearing the shameless title Just for to-day. McCormack had clothed its wretchedness with the graceful folds of an Italian aria.
The technique of Jan Kiepura, who made his first appearance in England at a B.B.C. National Concert, is less assured, or rather it is less matured. But, for all that, his attainment is very remarkable. As a singer, he is richly endowed, and, considering his extreme youth (he is 25), he has accumulated a surprising amount of interest in the investment of his talent. I fail to understand the general attitude of the critics towards him. Many of them found no good quality in his voice. For my part, I found all the essentials of lyrical singing—smooth- ness and roundness of tone, good resonance (although the voice is not big), a lovely mezzo voce quality, and, as all these things imply, admirable breath-control. There were a few moments when his intonation was impaired, but these were obviously caused by his eager reaction to an enthusiastic audience. I pray that Kiepura will not be so foolish as to sanctify his easy success. It would be a tragedy if, through unwise stewardship, he failed to obtain his great inheritance.
BASIL MAINE.
Previous page
