Iris Loveridge recital

Press, 11 May 1984, Page 4

Iris Loveridge recital

Pianist Iris Loveridge in solo recital at the Cathedral

of the Blessed Sacrament, on Thursday, May 10, at 8 p.m. Reviewed by Julie Klaassens.

There was definitely an imbalance in this concert, with a meagre audience supporting a long and arduous programme. However, save the little-known “Four

Rhapsodies,” by Dohnanyi, there was nothing startling to draw the crowds. These works aside, the programme dwelt in the

realms of the tried and true. In the offing were Beet-

hoven’s Sonata in D minor, Op. 31 No. 2; Debussy’s suite “Pour le Piano;” and Chopin’s “Ballade” in G minor and “Scherzo” in B flat minor.

Acoustical problems were responsible for many instances of blurred phrases. This was a great pity for the Beethoven sonata which

opened the recital. Commonly known as “The Tempest,” its surges remained firmly entrenched in the mud. By the third movement Allegretto, corrections through pedalling alleviated the problem. This movement flowed evenly and convincingly. Debussy’s “Pour le Piano” is an exciting work, full of tone colour and contrasts.

Ms Loveridge highlighted the muted effects of the Prelude well to accentuate contrast with the strident opening theme. Of the “Four Rhapsodies” composed by Dohnanyi, only one is commonly played. Through astute comments and observations, Ms Loveridge drew attention to relationships which exist between all four rhapsodies and which recommend these works to be played as one unit. Her performance reinforced her views.