Violinist in concert

Press, 3 April 1987, Page 4

Violinist in concert

Mark Menzies, violinist, with pianists, Sarah Watkins and Anthony Rit-

chie, presented by the - University of Canterbury School of Music at the School of Music, April 2, 1.11 p.m. Reviewed by Philip Norman. As part of the continu-

ing series of lunchtime recitals sponsored by the University of Canterbury School of Music, Mark Menzies, violinist, presented a programme of three challenging works. Accompanied by Sarah Watkins for Bach’s Sonata No. 3 in E major, BWV 1016 and Milhaud’s “Le Printemps,” and by the composer for Anthony Ritchie’s Sonata for Violin and Piano, he demonstrated once again his outstanding promise as a solo recitalist.

Although intonation problems marred portions of the slow movements of the Bach sonata, this work

was, in general, given a tidy airing. The two allegro movements, in no small part due to the lively piano line by Sarah Watkins, were dispatched with especial vigour. The brief material of Milhaud’s "Le Printemps” was well shaped and presented in a controlled, warm performance by the two artists.

The highlight of the recital was the presentation of Anthony Ritchie’s recently completed violin sonata. On first hearing, this substantial work appears jam-packed with melodic ideas and motivic developments.

It opens with a frisky Bartokian melody, echoes of which recur intermittently throughout. Imaginative ostinati in the piano line help keep a lively momentum for certain sections. Forceful violin writing provides several arresting points of

climax. The composition was listed as being in three continuous movements. However, an unscheduled break for tuning* purposes between the second and third movements made it difficult to assess the effectiveness of this structure. One felt that the second movement struggled to maintain a clear direction. A number of contrasting episodes, including a cleverly conceived but oddly placed pizzicato passage, seemed to fragment the movement.

This aside, the sonata is obviously a successful example of approachably modern string writing. It is a work of wide emotional expression, a quality brought to the fore by the powerful bowing and firm fingerwork of Mark Menzies. As pianist, the composer offered a steady, discrete accompanying line.