The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1925-03-25
MA|ER-PATT|SON
TWIN PIANOS
DELIGHT
Spirits of Debussy and Youth
Characterize Unusual
Recital atsPoIi's
By JESSIE MacBRIDE.

An appreciative person said, in
speaking of the Maier-P attison two
piano recital: Its marvellous. 1t
prevents the exploitation of per-
sonality and gives full attention to
the music, for music's sake. THESE
two finely personalities, Guy
Maier and Lee Pattison, gave re-
cital of piano ensemble" at Poll 8
yesterday afternoon that was a reat
delight and that was enthusiastlcal-
" received. The concert was the
fourth in the Wilson-Green series.
It's a new idea to go to two
piano recital to hear Mozart at MS
best. These two artists gave a JOY
Gus Raft in his "Gavotte ana
Musette," with a sparkling unity OF
piano runs and roulades that ue-
fled separating. 1t is a per1ecI
unity, that yet strongly lndlVloual-
ICES the music, so that It speaks
message of infinite variety.
Other combinations in plano play
ing have ! brought profound in
terests. These two boys, for youth
is of the spirit, bring that often
neglected art of the piano pure
pianistic playing. Then they dare
indulge in astonishing ruDatos,
amazing quick pauses, q freedom
in tumult of runs or triiis tnat
are interchanged with an abandon
that is unbelievable.
Tone qualities, too, of the modern
piano in its most elusive MOODS
they bring out, sweeping into a
gay melody, streSsing a change TO
minor, giving modulations in crisp
cut chords, all of which adorned
the poetry of their Mozart Sonata
in d major, with the pure phrases
now pearly rivulets or again saucy
caprice.
The dialogue between them IN
the Schumann lovely "Andante ana
Variations was charming, a con-
versation bound together with an
enhancing rhythm. Here we Hnd
Mater elastic, peculiarly alive, and
Pattison intellectual in his virtues
ity, making a balance that was
fascinating. Into the Saint-Saens
.'Scherzo' they put some gorgeous
sciMtilant runs in dynamic force.
Then they took us over into final
group of waltzes and fancies, with
q moonlit Debussy in the Afternoon
of the Faun."
Tone in the Debussy was always
covered, mystic, the themes caught
from some far-off world OF tone, q
misty harped undercurrent that
seldom belongs to the piano. Strange
that these play-boys in mood could
capture this Watery impressionism
with more of piano illusion than
is almost ever heard.
The waltz, in fascinating Donanyl-
Maier settings from the formers
"Veil of Pierrette," the wedding
waltzes. were delectable things that
must be heard, with wizardry In
the soft finale. The Arensky
teValse" was breathless in its verve
and unity, perfect in its color and
subtleties. Then, they gave humor
in a Pattison old fiddler's tune,
THE Arkansaw Traveller, arranged
by the pianist in delicious whim-
steal difficulties Of tone and type.
This last bespeaks Granger with no
touch OF him except the humor. 1t
is musicianly and delightful.
Virtuosity claimed the marvels or
the pin Wheels of Duvernoy, and
the Spanish Rhapsody of Chabrier
was aglow and full Of erratic
rhythms and orchestrated blends
that were captivating, For encore
they gave a "Sicilienne" Of Bach in
utter simplicity, yet in mood, and
ripping Arensky "Scherzo,' de-
lightfully phrased.
Melody captured, and then waited
in the breeze Of Elusive tone, is the
spirit of this playing, except that
there is romance in SchumaQ, or
mystery and Illusion in Debussy.
which sets the first definition at
naught. A Maier-Pattison recital Is
a constant delight, constant sur
prise. In that is definition that
does not define!