MR HOLENBERGH'S RECITAL.

Press, Volume LX, Issue 18184, 22 September 1924, Page 7

MR HOLENBERGH'S RECITAL.

On Saturday night, at the Choral Hall, Mr Haagen Holenbergh delivered hia first programme of the contemplated pianoforte recitals. A substantial number of pianists, professional and amateur, gave support by their presence, but the total patronage was utterly disappointing, bearing in mind how many hundreds profess to be absorbed in the study of the instrument. It is an old, often ventilated grievance, They come, provided. .it.. is dinned into their ears for months on end, that there is the prospect of a "show'' and a show-name. That they may enrich their knowledge of musical literature, extend their perspective, and obtain by comparison a better insight into stylos and modes of expression, apart from the actual merit of the performance, is still beyond tho grasp of their horizon. Music cannot bo taught in the studio alone. . . Naturally, recitalists, not unwilling to blend pleasure with something more sustaining, hold out the bait of "popular music'' to draw a larger public, a course promptly denounced and resented by the "connoisseurs," reasonably s'o, if they were strong enough in numbers and consistent in support. Mr Holenbergh in no large measure invited such displeasure; ho has, indeed, chosen his programme very judiciously. True, popular numbers were included—made popular, that is, by constant reiteration —such as the " Moonlight Sonata" and certain Chopin numbers, and some pieces, like the transcription of Bach's "Toccata" and Liszt's "Mephisto Valse," designed for a free display of virtuosity, found room also. But the greater number of the well-varied programme, unhampered by these considerations, was admitted solely for inherent claims of beauty and interest.

And thus the recital became a source of intellectual enjoyment, as Mr Holen- ! bc'rgh's interpretations became impressive by the sense of liis musicianship and pianistic status. A powerful reading of Bach's D Minor " Toccata" was followed up by a cluster of graceful, delicate gems of melody from Scarlatti and Gluck, the latter master's "Dance of the Spirits" especially treated with much refinement in tone and taste. The "Moonlight Sonata" passed expressively in the first two movements, and with the utmost attainable speed the restless, impetuous "Finale." We soon learn that technical difficulties have no terrors if they cause temptations for Mr Holenbergh„ his brilliant strings of passages, the easily-mastered torrents of octave and chord sequences carrying eloquent testimony. Against Mm tell at times too heavy tone masses of basses, aggravated by pedalling and tempi apt to blurr the outline of essential leading parts. The next group comprised Schumann and Chopin. Of the former the beautiful •"Intermezzo in I'lat Minor," never heard, then the fanciful "Bird as Prophet," with the lightwinged '' Novelette" in B Minor, also practically unknown, of which the first two rank highest in merit of production; from Chopin, the neglected W turno in D Flat" brought to hearing with much charm and, in brilliant execution, the "Fantaisie Impromptu. As encore, served the great "Prelude in D Minor," attempted by few pianists. A final international series ot introductions, almost all new in our concert rooms, embraced the virile "Intermezzo in E Flat Minor- b\ Brahms, an' 'lmpromptu" m sombre colours by Sibelius, Palmgren s "Refrain de Berceau," Grieg s daintr sketch, "The and 'as a striking sample o, unbridled virtuosity easily accomplished bv tlie performer, Liszt s weird "Mephisto Valse," all eliciting prolonged applause, but heaviest m calibre after the Valse. A transcription of Schumann's "Devotion" was the response to the last' recall. Mr Holenbergh has well established on Saturday night his claim to generous support bv the many interested m the music of the piano and to-night s second programme tempos, besides, with Mendelssohn's magnificent set ot "Variations Seneuses and Schumann's famous "Carnival, each wel worth the pilgrimage to the Choral Hall.