Evening star., 1949-01-27

WHICH she Is nel0 mixed Win q
warmer, personal feeling than is
usually accorded artists.
A recital tradition of long stand
ing was cast to the wind when she
brought her music to the piano and
played from it with the assistance
Of q young man to turn the pages.
She has adopted this innovation
since her return to this country
and there is no reason why she or
any other artist should be bound to
perform from memory. Yet there is
9 difference to be felt. Playing
from memory creates q more COM
municative spirit than can be the
case from even an occasional refer
ence to the score and this latter is
bound to be more frequent with the
music temptingly open before one.
It's effect even on such a superb
and experienced artist as Dame
Myra was to be recognized in the
superior performance of several en-
cores which she played without the
music. They were sculptured with
loving care and became units Of
musical pictures imbued with DO
etic imagination of extraordinary
insight. Thus Chopins Waltz in
E fiat" in the exquisite delicacy of
her playing conjured up a ballroom
scene where beauty, grace and ele-
gance shone. Brahms, Bach and
Scarlatti were treated in the same
discerning way and illumined by
very personal feeling.
1t is perhaps this ability to sense
the style and meaning of the music
in such a profound way that makes
her playing so individual. Her
velvety tone seeks neither to reach
undue strength or to sparkle with
cold brilliancy. The dynamics she
employs spring from a rich musical
nature and their logic Is imme-
diately evident and satisfying. Her
type Of playing is in a category by
itself and because of the emotional
impulse given 1t and the intellect
directing it, it cannot be appraised
from the customary standpoint.
The mechanical side of it, finished
as 1t Is, becomes a secondary matter,
for the supreme idea Is to discover
and give out the essence of the
music.
1t must be admitted, however,
that the results were not always
what one expected. The Bach
Italian Concerto" found the artist
not in her most expansive mood,
and while perfection of style and
clarity of line were impressively
maintained, the warmer qualities,
especially needed in the Andante,
were not so prominent. Chopin's
"Fantasie in r minor" could have
sustained a more vital delivery and
rapid passages benefited by q clearer
definition. The mood of the opening
march section and that of the Lento
were depicted with the special sensi-
tivity that Is so deeply q part Of
Dame Myra's art.
The splendor of her performance
lies in her phrasing and in the
knowing and discreet gradations of
tempo. Schunann's "Etudes SYM
phoniques" illustrated this mastery
in every possible form. It's many
variations, as she set them forth,
flashed irridescent color and their
variety tellingly contrasted with a
wealth of infection and emotional
understanding. Some of these stood
out more prominently when the
artist trusted her memory and so
gave herself more thoroughly to
their disclosure.
+ The post intermission period was
taken by the Mozart Concerto in
E nat major, K. 271" with.members
Of the National Symphony to pro-
vide the accompaniment under DR..
Kindler's baton. It was an eloquent
performance, the soloist playing in
inspired vein and DR.. Kinder, a
Mozart specialist, completely in
sympathy. Dame Myra gave this
noble work remarkably transpar-
ent reading, warmed by her vibrant
and expressive tone. She made the
piano q center and a part of the
orchestra only coming to the fore
with her finely nodded style in her
allotted solo moments. The audi
ence. which was loath to have her
conclude the recital part of the pro-
gram, recalling her repeatedly, was
moved to q great demonstration at
the concerto's close which included
an ovation for conductor and musi-
clans.