POETIC PLAYING BY MISS TESSA BIRNIE

Press, Volume C, Issue 29525, 29 May 1961, Page 13

POETIC PLAYING BY MISS TESSA BIRNIE

It ■would be hard to imagin’ more satisfying poetic playing than Tessa B,mie gave to her audience in the Civic Theatre on Saturday evening She seeks the inner beauty cf each phrase, has the •.equisite command of colourful touch to fed it, and so plans the structure of each irjterpretation that it has complete unity. She has already an assured and most 'nviable reputation abroad in the most discerning musical capitals, and her compatriot* here have every reason to be proud of her. It is to be hoped that they will show that pride by attending her recitals in large numbers when she returns to play to us next year.

Her programme began with Haydn’s great Sonata in E flat major, which she opened in broad and sweeping fashion with strong touch. The clarity of her playing was appreciated in this stylish. thoughtful. and dramatic rendering. The second movement was expressively suggestive of consolation in great sorrow, and it was beautifully shaped in its phrasing. The last movement had the sparkle and merry twirl of a Catherine wheel.

Schubert’s wonderful Sonata in C minor began with challenge, followed by passages of tender expresson; and in these two moods the movement swept on its way with a prevailing sp : rit of happiness and trust. The melody in the second movement sang with gentle charm. This was delicately poised playing expressing clear sensibility. The minuet and trio were graceful with clever effects of light and shade, and the joyful last movement had an Infectious gaiety with strong rhythm and vigorous and dramatic tone.

Mi.* Birnie does not neglect New Zealand composers in her programmes, and played a sonatina by Douglas Li’burn and a sonata by Edwin Carr. The first was the more attractive and had stronger cohesion. It gave its message clearly and economically. This is healthy stuff, spaciously out-of-doors in the first movement and charmingly reflective in the second. 'Hie last movement had jolly figures and an a-tmosphere of the chase. Mr Carr’s sonata has strong intensity of feeling with lyric -beauty in the second

movement which compels at. tent.on. There is a high sens; of frolic in the last movement.

Schumann's "Kinderszenen" was played with heightened imagination and poetic insight. The atmosphere of each little scene was perfectly conveyed with beautiful tonal colouring, deft and rhythmic movement, and a range of expression that conveyed wistful yearning. caref-ee happiness, tenderness, sleep and bouncing liveliness, tales of pomp and terror, and—over its whole course—a sympathetic understanding that had a mellow and mast touching beauty.

Miss Birnie played two of the shorter works of Schubert as encores. In style they were in accordance with the programme, but in content were much lighter. There was no need for her to play them, nor should a discerning audience want them after a programme that has been so well constructed. Such additions can be like tying ribbons on the tasteful frame of a lovely picture. - C.F.B