The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-12-23
.LEVITZKI AT BEST
IN BACH RHAPSODY
Despite Reticent Manner His
Performance Of Work Is
Full BlOOded. =
DISPLAYS AN ADVANCE
Also Delights Audience With
Schumann's Exacting SYM
phonic Studies.

Mischa Levitzlti, the youthful pian-
list who unexpectedly disclosed q new
talent October Is. 1916. was heard
yesterday afternoon in Aeolian Hall In
g. programme OF plano solos. The list
was one of variety ana little close rela-
tionship. 1t was a purely miscella-
neous programme well suited to the
pleasure Of a Sunday afternoon audi
ence.
Tho largest utterance came FIRST, for
tho opening number was Bach's
"Chromatlc Fantasia and Fugue.
This amazing projection of a creative
spirit into the future OF the pianists art
has remained a puzzle to the common
tators. How Bach with the meagre
means OF the keyboard instruments OF
bis day Excluding the organ) could
have conceived this rhapsodic work
equal In brilliancy to Liszt's transcen-
dental studies and in sweeping breadth
to the Beethoven OF the "Appassion-
ata," must forever remain mystery.
The fact remains that the resources OF
the colossal pianoforte Of to-day are
none too great for its ever receding
| horizons. II cannot be played with
| too much opulence OF tone not with
too much grandeur Of style.
| Seeks Secluded Charms.
Mr.. Levitzki is not a pianist or
the grand type. He Is a seeker after
the more secluded charms OF beauty
singer of tender songs, lover OF
| the finer and sweeter speech OF the
piano. His reading of the "Chromatic
Fantasia and Fugue" was, therefore,
the more 10 be admired, because 1t
scared above the players customary
level Of breadth.
1t was a singularly clean and clear
piece OF polyphonic playing with ex-
ouisitely distributed accent and with
a perfect balance OF voices, But more
than that, It was full blooded. v!rile
and romantic in the best sense OF that
loosely used word. At his last pre-
vious recital Mr.. Levitzki had seemed
TO recede somewhat from his own
mark, but in this one composition yes
terday he placed it bit further ahead.
In one other number the pianist
gave exacting hearers great delight.
This was Schumann's Symphonic
Studies" Most pianists are timid
about c2laying the creations of the
greater Schumann. and no wonder
The set OF variations under the above
title and the throbbing fantasia in c
major are not meat for artistic chill
dren. They require that very special
independence OF finger and skill in In
terlocking passages, essentially parts
OF Schumann's own piano language
and they call for emotional warmth
not given to every master OF the
needed technical facility.
Contrast with PaderewsLi.
Mr.. Levitzki. be It remembered. is
not a player OF massive tone. lie /!
continent In tonal range and his play
ing must always be measured will
this In mind. In the studies he dix
not burst into those reverberatinl
thunders with which Paderewsk
transformed the finale into a verltabl'
cataclysm OF sound, but within hi
, dynamic range he sang his wa,
through all the variations with keeI
, appreciation, with ravishng beaut!
OF color and with the clarity and mu
steal equipolse which are such note
worthy features OF his art. II was
, beautiful and poetic performance
, though in certain pages not so impos
ing as some others we have heard.
, For the rest II is unnecessary Z
make a parade Of details. The can
, dante Favori" of Beethoven and tn
, F minor impromptu OF Schubert wer
= charmingly played. There was
: group OF Chopin. and there we're piece
by Stojowsk and Dohnanyi. two o
, Levitzki's teachers; Mana yucca
: Scriabin and List.