Review Lynex and Till

Press, 18 March 1989, Page 6

Review Lynex and Till

Penelope Lynex (cello) and Maurice Till (piano), presented by tbe Arts Centre of Christchurch at the Great Hall, March 17, 1.19 p.m. Reviewed by Philip Norman. This was, in essence, a model lunchtime recital.

The programme began promptly and ended comfortably within a 40-minute period. Its material — inclining towards the lightweight — was easily assimilable by a lunch-hour audience. The music itself was delivered with a high degree of technical precision and expression. Penelope Lynex and Maurice Till "‘are both top-shelf musicians. Their partnership, once cemented during the opening "Variations, on a Theme of Martinu,” proved to be a happy and effective one. ....

It was a bonus that the performers elected not to tack an encore on the end of the recital. Instead, the programme contained built-in encores in the nature of brief and frisky items by Moszkowski (jguitarre”) and . (“Elfin

It was a further bonus that the Arts Centre management chose to curtain off the back half of the venue. This helped curb the sometimes impish behaviour of the Great Hall acoustics as well as creating the sense of an intimate performing space. Of the five items presented it was the performance and composition of Peter Dickinson’s “Threnody” that carried the most appeal. Here was music by -a contemporary (British) composer written to be heard rather than studied. The sinuous melodic line was ascribed with emotional power and tonal weight by Penelope Lynex. The strength and control of her bowing arm was clearly demonstrated with'a series of sharp sforzandi slicing through a delicate mezzo piano texture. ■ A similar depth, and warmth of expression, was evident in the unfolding of Mendelssohn’s melodies in “Song Without Words Op. 109.” With liquid phrasings and a secure sense of pitch, the work was delivereisby Lynex and Till with grace and charm.