School of Music

Press, 5 March 1984, Page 8

School of Music

University of Canterbury School of Mesic presents Carl Ptai (violin), Walter Goedde (cello), Maurice Till « James Hay Theatre, 3, 8 pan. Reviewed by Margaret Buchanan. This was the first in a series of four recitals given by this trio from the University of Canterbury. Although not billed as part of the Christchurch Festival, the atmosphere and size of the audience belied this fact, and the only thing missing was the display of flowers that usually graces the otherwise bare stage. This trio, however, possesses every desirable quality needed to present B flat, Op. 97, is a glorious work anti has in fact been played fairly regularly here, by both focal and overseas performers in recent years. The first movement was truly.beautiful and held the ■ aumtSe in rapt attention. ‘

Subtle communication and a sensitive interpretation produced one of the better performances of this profound work. Both string players possess consummate skill and artistry in their playing and Carl Pini’s mature style of playing was enhanced by Walter Goedde’s warm, ex- ’ pressive line in the cello. This young cellist lacked nothing in the profound demands as a soloist and .chamber music player. Maurice till as pianist fulfilled his role both in the Beethoven trio and later in the Mendelssohn with excellence .and technical mastery. He ensured that the sense of communication was faultlessly maintained so that the music flowed expressively. A rarely heard virtuoso arrangement of Handel’s Passaeaglia for Violin and Cello, arranged by a violinist, Johann jHalvorsen (1864-1935), was

the intervening work. This Passaeaglia progressed after several variations to resemble Paganini more and Handel less and less. However, both Carl Pini and Walter Goedde played the dashing fireworks display in a relatively understated manner.

The tenacity of Mr Till’s playing must be applauded in Mendelssohn’s Trio No. 1 in D, Op. 49, especially in the finale. The devilishly hard figurations he had to perform could have been masked by the elegance of the string playing but the spirit and energy present in the Handel Passaeaglia was continued in this much loved trio. The scherzo had humour and sparide and the finale (allegro), was imbued with dynamism and fervour. I looked forward to the rest of the series to be held in April, September, and October, and hope that the size of the audience swells to capacnr.