Biddington works

Press, 21 November 1987, Page 8

Biddington works

Compositions by Eric Biddington, presented by the Arts Centre of Christchurch with assistance from Wrightson Dalgety, at the Great Hall, November 21, I.l* p.m. Reviewed by Philip Norman.

The wares of a Christchurch composer, Eric Biddington, were displayed in fine style at the Great Hall yesterday lunchtime. Creditable accounts of recent works were given by a diverse line-up of musicians comprising Deborah Woodley (viola), Simon Kane (baritone), Andrew Fast (clarinet), Wallace Woodley (piano), Anthony Ritchie (piano) and the Amici Trio of Lambert Scott (violin), Judi Pattlnson (cello) and John Pattinson (piano). The stylistic ancestry of Biddington’s compositions is not difficult to trace. Even on first hearing one can draw a direct line from works such as “Three Pieces for Solo Viola” through the early compositions of Douglas Lilburn to the English pastoralism of Vaughan Williams. . . Folksy rhythms abound, especially m the many scherzo-like movements scattdftd through the BidiMteton ouevre. Strong hints of diatonic modality flavour the textures.

In movements of slower pulse, frequent recourse to time-honoured scales such as the pentatonic evoke an air of nostalgia. In places, the mood is almost one of melancholy.

That Eric Biddington’s works carry •an immediate appeal is in no small part due to his design of clear-cut, open-hearted melodies. A composition such as "Autumn Music” for viola and piano (to my ear the most successful work of the recital) is rich with beguiling tunes that could be as easily sung as played. With such a quality, it is not surprising that his instrumental music is beginning to attract the interest of performers in other parts of New Zealand. One problem that became apparent on hearing all six of the works offered was that Biddington has not only adopted the musical strengths of Lilburn and Vaughan Williams but also some of the weaknesses. Where less attention to craft was given, some of the melodies tended to hover without purpose as the underlying harmonies meandered through various modal progressions. Lasting impressions of the concert, though, are of a comwser who is tacking a well-charted course but with a promising degree of skill and dexterity.