David Vine recital

Press, 10 September 1988, Page 8

David Vine recital

David Vine (harpsichord) t presented by the Arts Centre of Christchurch at ~ the Great Hall, September 9, 1.10 p.m. Reviewed by Philip Norman. * The last time I saw the ’ public plucking of a harp- ■ sichord was at the farewell season of the Academy Opera. The con- « ductor and recitative ' harpsichordist for that t performance was David « Vine, a former Christ- ' church musician based in Wellington. : Vine marked his return t to Christchurch yesterday £ with a solo harpsichord recital at the Great Hall. X He will also appear in - concert this evening, as a X soloist with the Christy church Symphony Orchest tra. *- While a resident of Christchurch, David Vine »■ contributed much to the vigour of the city’s musi-t

cal life. His performances, as both a conductor and harpsichordist, were as notable for their vitality as for their scholastic integrity. Many were adventurous in concept. With this in mind, his recital at lunchtime yesterday proved to be a disappointingly dull affair. Compositions of medium to low inspiration were aired in what was a generally competent but lacklustre delivery. The one unequivocal exception to this lay in John Ritchie’s “Three Caricatures” of 1972. It is surprising these delightful miniatures are not more widely heard. They are cleverly crafted, and in Vine’s hands, each caricature was endowed with a colourful and appealing personality. Ritchie’s forward-think-ing approach to the harp-

sichord stood in stark contrast to that used by Martinu in his “Two Pieces.” The first of these in particular appeared as period pastiche — a piece of pseudoBaroque with modem knobs attached.

Of the genuine antiques presented, only those by Couperin appealed. “Passacaille” was aired with a pleasing sense of majesty and “Le tic-toc” ascribed with suitable whimsy. C.P.E. Bach’s Rondo in C and Sonata in G and two sonatas in F by the late and unlamented Sebastian Albero all appeared as stodgy fare. Vine searched for colour primarily in his interpretations of the rhythmic content. Colour was found amidst the flexible pulses employed, but it was at the expense of momentum and ovMr-all shape.