Woodwind recital pleases

Press, 29 July 1976, Page 6

Woodwind recital pleases

A recital of woodwind Music was given in the 2.5. A. Gallery yesterday ifternoon by the Ham Wind -‘nsetnble. It began with a Sonata in ‘anon Form for Two Flutes, ■ »y Hindemith. It was in, hree movements. The first, j 1 lowing in somewhat troubled:! ashion, the second, calmer'l tnd slower wtth a more media.tive character, and the 1 hird. in less troubled mind, tad an exhilarating sparkle. < It was played by Judy Coo- | •er and Rosemary Langley, ( vith good precision and with I • ell-matched phrasing. Thep onal qualities of the instru-ii cents were blended well. |i This was followed by a i void Quintet.in B flat, by.i

iFranz Denzi. It was played by Judy Cooper, flute, Paul Weir, clarinet, Susan McKeich, oboe. Neville Forsythe, bassoon, and Geoff Maurice, ; French horn. This made for listening tn a wider range, and was a pleasing work. It was well suited in idiom to the instruments, and was played with good balance and precision, with tone free ’from over-blowing, and with 'clarity free from aggression. A Duettino for Two Basisoons by Eugene Bozza, played by Liam Gill and Tim Galler, was delightfully goodhumoured music. The players! iwere tn excellent accord ini ’matters of expression, phrasing, balanced tone, and vol-; ume. They played in: musicianiy style.,. |

i, The bassoon, often deI rided as “the clown of the -orchestra,” has beautifully , telling tone when played well ~and in solo work as well as r in ensembie effect can be a , igood friend to a composer, t The recital ended with Two > Arias by Handel scored for sjtwo oboes, two bassoons, and 1 two French horns. These two ? delightful works, played with i finesse and with feeling for .(style, revealed Handel at his . j healthiest. The work demanded and got smooth and i precise playing and phrasing . which underlined the meanring. Behind the good disciiinline shown in the perform,'ance there was a refrshing . freedom and sense of enjov- , !ment. I —C. Fost«" Browne. I