Festival Of Arts At Baptist Church

Press, Volume CX, Issue 32323, 15 June 1970, Page 12

Festival Of Arts At Baptist Church

Yesterday afternoon, a Festival of Arts at Oxford Ter- 1 race Baptist Church opened 1 with an organ recital by ; Denis Smalley, who proved 1 himself to be one of this - country’s most accomplished i performers on the instrument. 1 The first half consisted of 1 15 items (most of them 1 short) from a “Mass for the 1 Use of Parishes” by Couperin. 1 Mr Smalley made full use of

A good standard of performance was maintained in the Byrd Mass, the individuality of the various parts being clear both as to their various entries and their contrasted nuances. Interpretation of the various movement was sympathetic and effective. The whole work stood out as the best performed in the programme. —V.G.

the organ's resource in endeavouring to provide the appropriate tonal colours. His registration was skilful, matching a fine, flexible technique; and both were at the service of a sympathetic understanding. Three charming little pieces came next: one from the fourteenth century (“Estampie”) and two from the fifteenth (“Die suss Nachtingall” and “Vierhunder Jaruff Dieser Erde”)—all delightfully played. Then J. S. Bach’s “Canonic Variations” on “Vom Himmel Hoch” towered over all else in the programme. Finally, and with little apparent congruity, came a “Sortie (The Wind of the Spirit),” by Messiaen: reasonably short, aptly carrying its “impetuous blast of wind" reference from the “Acts of the Apostles,” and enthusiastically played. The second programme of the festival was given by the j University of Canterbury; Singers under their conduc t tor, John Cousins. Outstanding English composers of the sixteenth and seventeenth centuries were well represented: Byrd by his “Mass for Four Voices." Bennett Farnaby and Pilkington by madrigals, and Morley by; madrigals and Camzonettes, i one in two parts sung by | Paul Tonson and Richard Chateris, and another in three (Judy Bellingham, ■ Maryse Ingley and Robin; Barnes) In addition, there were four French Chasons. attractive in quality and presentation—especially an anonymous “Plaisir n’ai plus” and Costelev’s “Dieu Cupide." Of all the secular items.; the most effective in performance were Morlev’s madrigals. “Now is the Gentle Season”; and “April is in My Mis-! tress’s Face.” Farnaby’s “The; Curtain Drawn.” and the Morley canzonette, “Deep La-' menting.” )