The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1922-01-05
PAULKOCHANSKI,
v|OLRN|ST, WINS
DC. 'SPLAUD|TS
To Technical Command Of In
strument Is Added Warmth
and Artistic Abandon.

Kochanski's name Is written large
and with the foremost in the world
of violinists. Paul Kochanski was
heard in his second recital In Wash
ington at the National Theater last
Friday afternoon, the concert being
in the Ten Star Series presented by
T. Arthur Smith. Inc,
Last year Mr.. kochansh com.
manded attention by his masterful
technique and his authority in in
depreciation that ranked him as o
classicist. Today he comes to US
with the full power Of q marvellous
technical command Of his violin. and
added to this temperamental
warmth and abandon that at times
brought tears and again cries of
bravo" His triumph was shared
with his accompanies. Gregory Ash
man.
Nobility that scars to the heights
OF music in rare tones Of q multi.
tude Of shades. characterizes this
virile artist. and his marvellous
Stradivarius responds to each faint
est breath Of difference In tone value.
Individually. himself. Kochanslxi's art
bears analogy to literature in that
he is epic in his noble form. lyric in
his exquisite beauty OF melody, and
romance in the Walther's ''Preislied"
from Mastersingers, to a delicious
joyousness In an exquisite Boccherini
"Allegretto."
Pure Articulation.
Each tone is purely articulated, but
acclaimed in its relation to the whole
The sonata-form Devils Trill" Of Tar.
tina having an enhancing melody.
while the cadenza with it's double triils.
it's pedal point. It's combined dignity
Of the recitative with intricate execu.
ton, was repeated in the Bach playing
that was vital and big with tones
articulate and full Of color. In the
adagio he fairly waved" out the light
est tones, played phrases in echoed
repetitions.
Then in a Wieniawski "Mazurka"
he touched a new mood, a vagrant
fancy Of tiny incidental marvels Of
trills and harmonies. The purity Of
his double stops Is delightful. the firm.
ness Of his touch always sure. The
Hungarian Dance" Brahms-Joachinn,
was given in the same free manner.
A novelty Of special interest and
muted and rare delineation was the
first performance here Of q mot
turno," by X. Szymanovski. It In
reminiscent, but that does not take
away the charm Of its rendition nor
Of its beauty. In double stops almost
mute. II opens like that dawn scene In
la Boheme." in marvels OF covered
tones that Kochanski whispers from
his instrument. In darts of pic
turesque episodes Il has romance Of q
Scheherazade-and what exquisite top
notes!-there Is Debussy here, too.
and nothing somnolent in these
Nights" but vital palpitating with
life. II closes in the atmosphere Of it's
opening phrases. mysteries Of cover ID
tones exquisitely played.
Kreisler Arrangements.
kreisler arrangements they lifted one
into clear skies fN sheer beauty.
The Couperin "Chanson Louis XIII
ct Pavane" were given with delibera-
ton and loveliness, rare tone, and
that final phrase seemed to say 1T
was a Dream" Then the new thing
in the JOY and laughter Of Boccherini
and a final technical triumph in the
elfin "Rondo des Luttins" of Bazzini
with outstanding Uecution. Again
In encores were pnthos. folk tales,
cello depths. and runs Of amazing
smoothness in the "Sicilienne ct
Rigaudon." Francoeur- Kreisler, and
In the Gluck 'Melodie" the wall Of an
ideal from the dramas of ancient
Greece.
Such playing is not often heard. It
cannot be transferred in words. And
in Gregory Ashman. at the piano,
was an accompanied who has caught
the rare covered tones Of the violin
and reflected their spirit, a. few
pianists have done.
JESSIE MacBRIDE.