Michael Houstoun

Press, 8 March 1984, Page 8

Michael Houstoun

Michael Houstoun, presented by the Christchurch Festival at the James Hay Theatre, March 7, I.l* pan. Reviewed by Philip NorBUUL Experiencing an hour of Chopin under the fingertips of Michael Houstoun must be the equivalent of lasting 30 rounds with a heavyweight masseur. One reels ' away exhausted and elated, bruised, but greatly satisficd. - Yesterday lunchtime’s recital began promisingly with a confident, well sculptured “Barcarolle.” Clear articulation and spotless de- - livery laid the foundations fort a warm and expressive A presentation of this appeal-3

ing work. In his performance of Chopin’s “Twenty-Four Preludes,” Michael Houstoun excelled himself. Most ordinary mortals would have difficulty in remembering which Prelude came where, yet Mr Houstoun, in one unfaltering stretch of concentration, gathered all 24 into a single, cogent, highly charged statement Lyrical lines were savoured and enriched with delicate shadings of dynamics, right-hand melodies sang effortlessly over sparkling left-hand accompaniments. Pedalling was generously but discreetly applied, and subtle swaying

of tempo allowed many fine moments to linger expressively. Where power was needed, it was crisply and incisively unleashed, whether it be in the crashing chords of Prelude No. 18 or the machinegun rapidity of Prelude Na 22. While the effortless agility demonstrated in Preludes such as No. 16 was, spell-binding, so too was the quiet intensity generated by simple, repeated chords in preludes such as No. 17. An all-Beethoven programme, scheduled for tomorrow lunchtime, comprises the final concert in the saw by Michael Houstoun. ■