TOWSEY-MITCHELL CONCERT.

Auckland Star, Volume L, Issue 251, 22 October 1919, Page 10

TOWSEY-MITCHELL CONCERT.

A delightful recital was given in the concert chamber of the Town Hall iry Mr. and Mrs. Cyril Towsey and Miss Winifred Mitchell last night. A programme of exceptional -merit was submitted, and every item received a reading which brought out the features ol the music and reflected the highest praise upon the performers. The audience, an appreciative one, listened intently, and showed its pleasure by bestowing unstinted plauditß after th 9 items. Mrs. Towsey contributed eight solos, and was also heard in Alexander Kielitz's song-cycle. "Fair Jessie." The cantatrice opened with an expressive and sustained delivery of Massenet's "Elegie," wliich was followed with a performance of Lcroux's "Lc Nil." which displayed the beauty of this expressive number to, fine advantage. The different movements of tlie song-cycle were charmingly expressed. The initial number, "A Youth Passed By." was given in a flowing style, whilst delicately rendered was "I Stand, and Wait." The beautiful waltz section. "Hark! Yonder far 'neath, the Greenwood Tree," received a tripping and lightsome delivery, full of movement and a nice feeling for rhythm. A descriptive performance was sustained of "The Merry Dance is O'er." Specially noticeable was the expressive singing and the rich timbre of voice displayed in the tranquil "The Moonbeams Silver," whilst an affectionate and passionate reading wan obtained of "Then I Kiss'd Him." A ni:c legato style of singing marked tne rendering of "I Stand and Linger," whilst a dramatic and telling performance of "The Night is Dark" terminated an enjoyable interpretation of an attrac-tively-written composition. The charming pianoforte part was artistically treated by Mr. Cyril Towsey. A delight-fully-written "Lullaby," by Maughan Barnett, was very tenderly sung, whilst the same author's "The Bootie" was pleasingly rendered. Pergolisi's "Tregiorni son c_e Nina," Schubert's "To Music," Schumann's "Humility," and Ireland's "Spring Sorrow" were other attractively-delivered pieces. The outstanding instrumental selection was Cesar Frandt's great Sonata in A major. Tlie great Belgo-French master had. becomean artist of definite principles w-hen he wrote this splendid masterpiece, having attained a perfect self-control, and a gift and knowledge able to do what he desired in the construction of music. The last years of Franck's liie brought to light four masterpieces, which will stand out clear and luminous in the history of French music, the violiß Sonata composed for Eugene and Tbeophile Ysaye, the Symphony in D'Minor, the string quartet, and lastly, the Hire* chorals for organ which was his swansong. The tendency at present to give the gifted author earnest appreciation is a hopeful sign, and shows that mUBl* cians at last realise what a great organist and composer the famous musician was and i.s. Miss Mitchell and Mr. Towsey gave an intelligent and highly* sympathetic interpretation of this great tone-poem. There was a delightful feeling of sympathy and unanimity between them, every phrase and section was executed as though the performers were out to do honour to the famous composer, and by so doing they also reflected high credit upon themselves. The Allegretto hen Mareato was played with distinctness of phrasing and accuracy of intonation, whilst the difficul* ties of the Allegro were successfully surmounted. Firmness, speed, decision, and fire marked the playing of tbe dissonances of the measures leading to the third section. Artistically treated we* the Recitatio-Fantasia, Violinist and pianoforte producing a delightful singing quality of tone, besides phasing the movement with elegance and finish and making much of the dynamics. The entanglements of the Allegretto Poco Mosso had been so well practised fhat the duettists, as the music proceeded, were able to display the full development of the concluding movement, working it out to a splendid climax at the close. After this admirable performance of a coOossal work the performers wore enthusiastically doubly encored. Besides performing all the pianoforte parts, Mr. Cyril Towsey gave artistic readings of Schumann's "Novelette," Godard'4 "Venitienne," and Chopin's "Etude op. 25, No. 5." Miss Winifred Mitchell waa heard in Massenet's "Meditation and Simonetti's "Moment Musical," and notwithstanding having to play against the vigorous performance of a stationary hand outside the hnll, she gave artistic rendering of the pieces.