CURZON, AT PIANO, SHOWS ARTISTRY

Although Clifford Curzon has appeared here several times over the last few seasons as soloist with the New York Philharmonic and Cleveland orchestras, hiS appearance at Philharmonic Hall Sunday night marked his first New York recital since 1963. Choosing the six Moments Musicaux’ of Schubert's Op. 94, Beethoven's “Eroica” Variations and the Schumann Fantasy in C, Op. 17—three works that have long been ,associated with the English pianist, and all of which he has recorded—Mr. Curzon upheld, his reputation as a refined, discerning artist.

The Sdhubert miniatures ‘came first and went best, with masterly control of tone color and dynamics, and such a delicate, intimate quality that it almost seemed as though the pianist were running through the pieces at home for his own amusement, rather than performing them on the concert platform. Leisurely tempos gave a flowing grace to the first two; the next three, all in minor keys, sparked to a bright rhythmic lilt, and No. 6 returned serenely to the lightweight lyricism of the opening.

In the Beethoven, officially billed as 15 Variations and Fugue in E flat on a Theme from “Prometheus,” Mr. Curzon produced a wider range of dramatic and dynamic contrasts, although at some cost of accuracy in two of the later variations and the fugue, The piano sound was lovely throughout, however, of caressing softness in the quiet sections, firm but never bangy in the’ more exuberant variations.

Mr. Curzon's approach to the Schumann was rather aristocratic, the animal energy of the score submerged in favor of its poetic warmth. The passionate second movement, in other words, seemed a bit tame, while the outer movements glowed with unusual ardor.

For his first encore, the pianist repeated the most famous Moment Musical, No. in F minor, and after the high drama of the Fantasy, it sounded more charming than ever.

ROBERT SHERMAN.