UNIVERSITY TRIO’S EXCELLENT CONCERT

Press, Volume C, Issue 29468, 21 March 1961, Page 17

UNIVERSITY TRIO’S EXCELLENT CONCERT

Another excellent and enjoyable concert, under the auspices of the University music department, was given last evening when the University String Trio and Mr Maurice Till played some chamber music. Concerts such as these enrich the musical life of the city; and it is greatly to the credit of the music department that, within a week, we have had that delightful concert for the opening of the new harpsishord, Dr. Toovey’s performance of the Goldberg Variations, and now this recital. There have been large audiences at all concerts, and it is good to know that the public is appreciating . what the University is supplying so generously.

The programme began with Mozart’s Quartet in E flat. It opened spaciously, and the skilled team work of the players was quickly appreciated. Between the string players, Messrs David Stone and Thomas Rogers and Miss Elizabeth Cook, there was delicate matching of tonal qualities and good balance at all levels of expression. The movement unfolded with clear part-playing, and warm and vibrant tone was heard. Mozart’s demands for shapely playing were fully met. The second movement is like question and answer between the piano and th? strings. Mr Till played with stylishly beautiful tone. In the Allegretto good spirits prevailed, and the scale passages rippled so merrily. Altogether it

was a charming performance of a lovely work, and the University Hall gives a beautiful setting for music of this type.

In Beethoven’s Serenade Lr String Trio in D, Op. 8, we heard how fully resonant three strings can sound. The work has eight movements with many contrasts of mood, although cheerfulness prevails. The contrasting atmospheres were skilfully portrayed and the playing showed good preparation and sense of unity among the players. It was a happy performance.

After the interval Dvorak’s “Dummy” Trio, Op. 90, was played by Messrs Till, Stone, and Rogers. Special mention must be made of the smooth, warm, and mellow tones which Mr Rogers produced from his ’cello, but the three players gave us a splendid realisation of romantic spirit in the types of tone and in scope of expressive ' feeling. Throughout the work there was vibrant playing with beautifully expressive phrasing. The first »w“ movements are the best. The first was alternately pensive and joyful, with some interesting playing by the strings alone. The second movement had some recitativo passages contrasting with delightful- little cascades of sound. The many boisterous parts of the work came off with exciting eclat and the whole performance was marked by musicianly understanding. —C.F.B.