MR WOBSLETS CONCERT.

Press, Volume XLVIII, Issue 14525, 29 November 1912, Page 9

MR WOBSLETS CONCERT.

Much may bo forgiven ono to whom we owo tho first public performance of Cesar Franck's Sonata for piano and violin. For, bearing in mind tho contemplated effect upon his hearers, wo cannot commend tho composition of Sir Alfred Worsley's program mo as presented last night, his share, of it in particular. In his own interests ho should realise that it is under present conditions at least promaturo to include in it two sonatas of groat length with the best part of a third thrown in; tho Beethoven Sonata being, moreover, one of thoso least suitable for tho concert platform. In all other ways he succeeded again last night in impressing his audience with tho merits of his musicianship, tho solid worth of his work, his intellectual grasp and an effortless and often brilliantly displayed technique. As regards his own sob', the three fino studies by one ao eminently qualified to write effectively for the piano as is Xavor Scharwcnka, must bo given tho place of honour for their excellent interpretation. The ir.ost fascinating instrumental work produced was without doubt tho poetic Sonata by Franck. Unlike Wagner, who found his ideal realised in the cooperation of music with tho sister arts Franck declared himself the staunch champion of absolute music, becoming the founder of a school of impressionists, whose art has opened un avenues of now thought expressed in* forms of singular charm. Tho Sonata, ono r>f tho Inst of Ims> works, offers a. fino illustration. Ethereal, dreamh'ko is the allegretto, restlessly soars the alIpgro to heights of ecstasy, paintms fleeting moods in ever chanjn'rijT colours with consummate art. Tho third movement, the fantasia, is remarkable for orisinality of inspiration and construction, the whole a thing of beatttv, requiring more than one hearing before it can be fully understood and appreciated. Meritorious as its production was last n'ght, the widely differing temperament of the two performers stood in the way of >i wholly sufficing interpretation, tho piano, besides, often overpowering tho violin. It is difficult to understand, as an upright piano was obtained to avOil this ever-present danger, why it was played with an open lid. neutralising the intention. Under similar conditions were given two movements of a very interesting and bright sonatina by "Dvorak. Mrs Gower-Burns contributed, in excellent voice, with fino artistic achievement, enhanced by Dr. Bradshaw's accompaniments, the famous aria, "Mother. You Know the Story," from ?.lascagni's Cavalleria, beautiful songs by Grieg, Tschaikowsy and Mallinscn, and qu.te exquisitely Hcnschel's '"'Spring.',' As a soloist, Miss Crouchci played very finely, indeed, Wieniawski's "Legendo" and a lovely "Bercf'Uso' , by Fauri, whilst her conception of Frar.r-k's Sonata harmonised admirably with its poetical and emot : onal purport. With their carefuily-blended, well-trained voices, the Christchurch Quartet sang as well as ever "By Celia's Arbour," the humorous "Fishing on Sunday," Bishop's "Foresters." and, perhaps best of all, Hatton's "Absence."