VIOLIN RECITAL

Press, Volume XCV, Issue 28269, 6 May 1957, Page 2

VIOLIN RECITAL

Good Programme By Teresa Beaven

An appreciative audience heard Teresa Beaven’s violin recital in Begg’s Concert Hall on Saturday evening.

She is a player who is strongly equipped technically and who shows musical understanding and feeling in her interpretations. The tone produced is strong and steady and has plenty of colourful variety at all levels of expression. Mrs Beaven’s double stopping is always in tune, ana there were no maddening nearmisses on the very high notes. The programme opened with Bach’s Chaconne. This work is, for all violinists of note, a gruelling test. In some ways it might have been better to have had it as the second work on the programme, for both the player and also the instrument need to warm up before tackling it. As this work is usually heard only from professional concert artists of the highest ability, it is not surprising that this performance did not entirely come up to their standard—but it did not fall too far short of it. It was certainly a commendable effort. The interpretation was stylish and rhythmically the playing was secure. At times the tone was brittle and there was the odd extraneous high-pitched sound, some rather harsh notes on the G string, and some on the E string, which had more resonance than their mates in a phrase would suggest to be necessary. However, the performance had the over-riding virtues of excellent clarity and understanding.

Two sonatas followed: the Beethoven Op. 30 No. 3 in G major and the Brahms Op. 108 No. 3 in D minor. Mrs Margaret Fahey was the pianist associated with Mrs Beaven in these works. Mrs Fahey’s reputation as a thoroughly well-equipped and sensitive musician has long been known and her playing in this programme showed how well she deserves that reputation.

These two sonatas were delightfully played. The lay-out of interpretation was clearly defined and followed. The emotional qualities, from deep tenderness, through light-hearted gaiety, to full-blooded exuberance, were all faithfully brought to the audience. Beneath and upholding all the byplay of sharply-pointed accentuation, flowing and warm phrasing, and nicely adjusted balance there was strongly marked forwardmoving rhythm which ensured well-knit performances. The same qualities in lighter vein marked the rendering of Beethoven’s Romance in F. Two pieces by Bloch showed that these players can produce the tonal qualities necessary for the powerful and rending emotion demanded by this composer. It is by no means an easy task to make this music hang together convincingly.

Mrs Beaven and Mrs Fahey deserved the thanks of the audience for a good programme and for the insight shown in its presentation. —C.F.B.