Evening star., 1949-12-05
by Alice Eversmon

By Alice Eversmon
Benno Moiseiwitsch. recently
soloist with the National Sym
phony, gave his first local piano
recital yesterday afternoon IN
Constitution Hall. There was far
too small an audience to greet
him.. possibly because, since his
return to this country, he has ap-
peared here only with orchestras.
It remained for Patrick Hayes to
include him in his piano series
and so make known another
pianistic personality in recital.
A vivid interpretative imaglna-
ton stands out in Mr.. Moisei-
wilson's playing which is also OF
virtuoso estate. The ability to
have so fine a reaction to the
smaller components of musical
work is shared by few pianists.
While the overall breadth OF the
artists performance was impress
sive for its brilliance, the greater
delight lay in the unexpected han
ding Of a phrase and the resulting
revelation that was made. This
special faculty exerted a charm
that appealed to mind and sentl-
ment for Mr. Moiseiwitsch's poetic
sensitivity in this regard was MADE
appreciable by his exceptionally
expressive tone.
The program selected by the
artist had nothing new IN 1t ex-
cept Schumann's "Kreisleriana' a.
which is so seldom played as to be
something of a novelty. 1t could
be divided, however, into two sec
ttons: that in which Mr.. Moisel-
witsch himself eijoyed the exer-
else of his particular imaginative
powers and that where the rules
of procedure were followed with
artistic conscience but without
that inner light. In the latter
category come the Beethoven
"Waldstein" Sonata, Schumann S
sKreisleriana," and the Scarlattl
"Sonatas." Besides a heaviness in
technical passages that frequently
clouded their transparency, there
was present less of the analytical
snirit revealed at other times. The
essential characteristics OF Schu-
man appeared to be more alien
to Mr.. Moiseiwitsch's Thought
processes so that the fantasy in
"Kreisleriana," and its meaning
ful undercurrent, was not en-
visioned., Both 1t and the "Wald-
stein" received a routine reading,
the scarlatti "Sonatas in B Minor
and q Minor" less than that.
The stamp of this artists indl-
viduality was first made known
In Beethoven's "Andanti Favor,
originally intended as a move
ment Of the "Waldstein" Sonata
and tn the Chopin Etudes and
waltz that began the encores al
the close of the recital. One
wished that Mr.. Moiseiwitsch had
elected to play an entire Cnopin
program. Such grace and dell
cate charm, such poetry and
fancy. have rarely been applied
to these familiar numbers. One
felt. too. the affection. the per-
sonal pleasure. the artist expert
enced when in acord with Chopin
Previously there had been a
brilliant performance OF the
Weber-Tausig Invitation to the
Dance" giving it, through his
eloquent and fluent delivery, the
appearance of more worth than
1t actually possesses. Often hearo
In two piano or orchestral ar
raneements, it deserves more solo
performances for its audience
appeal if nothing else. Rach-
maninoh's prelude in G Major
and Moment Musical in E Minor,
together with LISTS flamboyant
"Polonaise in E." also found the
artist in q mood of more abandon
than In the major selections Or
fered. Here one enjoyed again
Mr.. Moiseiwitsch's rare gift te
illumine a work with countless
beautiful details while dazzling
his listeners with the extent OF
his virtuosity.
Contralto Gives Recital.
The song recital given by
Louise Burge, contralto. IN the
National Gallery of Art last night,
disclosed a beautiful voice of great
possibilities. Accompanied with
fine discernment by Francesca
Dixon at the piano. she presented
. program beginning with three
Handel numbers and including
further, songs by Schubert, Faure
Chausson and an interesting
group by contemporary Negro
composers.
Miss Burge, who resembles
Marion Anderson in her stage
appearance, has a richly toned,
noble voice Of wide range. She
has not mastered its control fully
as yet, and her production has
the aInevenness that often comes