Gerrard piano recital

Press, 5 October 1985, Page 8

Gerrard piano recital

Colleen Rae Gerrard (piano) in recital at the Great Hall, Arts Centre, October 4, 8 p.m. Reviewed by Philip Norman. t Colleen Rae Gerrard is an intelligent musician. Her playing is ordered and gracious, yet capable of telling expression throughout the emotional spectrum. She is a communicator. Instead of programme notes last evening, each item was introduced with a charming account of the background to the composition. Her commitment to the music, and to the piano as an instrument in all its historical forms, shone clearly through. What a pity there were not more people in the audience to hear Miss Gerrard’s tasteful account of Haydn’s Variations in F minor, or her rocketing rhythms in the Allegro and Presto movements of Bach’s Concerto in the Italian

Style. How embarrassing that Christchurch audiences virtually ignored this appearance by one of New Zealand’s most accomplished pianists. The dent in my civic pride is a large one. Highlight of the programme was a commanding performance of Edwin Carr’s virtuosic Piano Sonata No. 1. Movement I, in particular, places ridiculous technical demands upon the performer. Yet, when the notes are all struck in their right places, the effect is magical, if not demonic. Colleen Rae Gerrard articulated the frenzied phrases in this, and the closing Presto, with unruffled ease. In the inner movement, a delicately-shaded Andante, she drew forth some subtlycoloured sounds. The moto perpetuo configurations over the resolute bass line were especially effective. Ravel’s “Jeux d’eau” was

also favoura bly treated. The sheets of rip pling sound that comprise the composer’s aural image of the Versailles fountains • were delivered with sensitn rity and pleasing momentum. l Dynamic levels were admir ably contrasted. While the concert over all was characterised by playing of quality, two of the six works wens a shade disappointing. f Schubert’s “Landler,” a < collection of 12 dances, we re given a rather dull reading, lacking, in rhythmic 'zest and righthand sparkle. Mozart’s; Sonata in A minor while phrased with tenderness i and care, suffered through a few too many slips of fingering in the openir ig two movements. The admirably quick tempo chosen for the closing Presto le<d to a few grablea lines, I but nevertheless carried ata energy that was compellir ig.