Cathedral Bach recital

Press, 2 June 1977, Page 4

Cathedral Bach recital

By

C. FOSTER BROWNE

Professor Gerald Hendrie gave an organ recital in the Christchurch Cathedral early last evening under the auspices of the School of Music of the University of Canterbury.

The programme was chosen entirely from comeositions by J. S. Bach and egan with the Prelude and Fugue in A major — a merry sounding work, with a closely reasoned fugue demanding a careful phrasing of the subject. Mr Hendrie’s phrasing throughout the recital was of exemplary clarity, his rhythms cleancut, and his choice of tonal colourings a sheer delight. ,

Four Chorale Preludes from "The Little Organ Bock” followed, each demanding, and certainly getring, subtle and erudite registration.

"In Dulci Jubilo,” a canonic setting and not the best Bach wrote on this chorale, was charmingly played on lively flute stops. "O Man Bewail Thy Grievous Sin” — one of the most deeply moving works in all music, particularly in its last few bars — cast an atmosphere of seraphic peace.

“Through Adam’s Fall'’ has a pictorial motif in the pedal, suggesting that Adam fell the interval of a seventh. Holy Scripture may, not support this, but Bachl and Mr Hendrie made it! convincing. “All Men Must Die” had' solemn grief, and con-! solatory character brought' out with restrained feeling.' Some lis'eners may have; been surprised that Mr Hen-; drie used a tremulant. How-! ever they should remember: •hat Bach also did, for there .s extant a note from him toj a tuner complaining that the tremulant was out of order. The first part of the reci-.

tai — delicate up to this I point — ended with the! monumental Passacaglia and Fugue in C minor. Here again perfect clarity of partplaying and immaculate phrasing were deserving of highest praise. For the most part Mr Hendrie played it quietly. Thus showing that profundity and architectural majesty can be conveyed without making a noise. Sonata No. 1 in E flat was played with excellently balanced registration giving clarity to its imitative strands on the manuals, and a light and airy buoyancy which was quite enchanting. Mr Hendrie chose an ideal tempo which gave clear 'detail and maintained vivac-

ity in the first and the last movements. So many players go hell for leather in the sonatas, making it impossible for a hearer to know what they have to say without the aid of a printed score. The last movement was refreshingly effervescent.

The recital ended with a clear, expansive, and majestic performance of the wellknown Toccata and Fugue in D minor. Here again every note was cleanly articulated and the registration exciting and aptly taseteful and stylish.

This was one of the most satisfying organ recitals I have heard here for a verylong time.