CHAMBER MUSIC

Press, Volume LXXXIX, Issue 27090, 13 July 1953, Page 10

CHAMBER MUSIC

OUTSTANDING CONCERT Once again the Christchurch Chamber Music Society deserves congratulations on providing a concert which kept up the very high standard which has been established in former recitals. Ruth Pearl’s work is widely appreciated here. Her sensitive artistry and technical brilliance give a guarantee of excellence for any group with which she is associated. Marie Vanderwart has not been heard here in chamber music for far too long a time, and her performance at this concert causes one to hope that future visits will oe more frequent. Jean McCartney has not played to us before, but the' outstanding brilliance of her playing of the viola shows that music in New Zealand is greatly the richer for her arrival among us. The standard of playing heard from this string trio in the Repertory Theatre on Saturday evening would have been acceptable anywhere. One could easily believe that the performers were a touring group, accustomed to playing together for years and doing nothing else. While it is true that they are professional musicians, nevertheless they all have their homes in New Zealand, and family ties and responsibilities. This throws into sharper relief their depth of understanding of .the music and their experienced craftsmanship as a team. Such unanimity in the capturing of moods and sustaining of both letter and spirit with poise and elegance marks them out as players of rare sensibility and makes their work a delight to their hearers. One earnestly hopes that the Chamber Music Society will bring them here again and again. The programme called for no fireworks. It made great demands upon balance in phrasing and nuance, in careful choice of tonal contrasts, and in clarity of line. Lennox Berkley’s String Trio made an interesting opening. It has a pleasant flow of melody, rhythmic cohesion and clever spacing of its harmonic structure between the various instruments. The second movement, in particular, with its atmosphere of tranquillity and seeking, was very attractive.

Beethoven’s Trio in C minor, Op. 9 No. 3, and Mozart’s Divertimento in E flat K. 563, completed the programme. The Beethoven was smoothly played with fluent ease and grace. The Adagio was possibly the most interesting movement, ana the delicate finish to the work left the, impression that the bloom had been undisturbed in the handling of it. The Mozart was magnificent. This was the severe test and how well the players responded. In music such as this there can be no artificial aids and no royal road to success. The first movement was played with spaciousness and warmly-felt sincerity. It was completely successful, but the boundary between sublimity and bathos in such a movement is a very finelydrawn line. This-music is so emotionally stirring that the understanding and Sympathy between the players must be most carefully attuned. Similarly with the Adagio, the delicate texture could so easily be marred by any inexperience. The other movements also were portrayed with delicate finesse, and the playing of the whole work was something to be remembered with gratitude. —C.F.B.