Review Riseley, Rhodes, Till

Press, 11 May 1989, Page 7

Review Riseley, Rhodes, Till

Martin Riseley (violin), Ted Rhodes (baritone) and Maurice Till (piano), presented by the University of Canterbury School of Music at the Great Hall, May 10, 8 p.m. Reviewed by Philip Norman. It is pleasing to see the University of Canterbury promoting the work of its students. I suspect the initiative for last evening’s recital came from Maurice Till. If so, my compliments to him for this, and for providing such splendid piano accompaniments throughout. I use the word "students” to describe Martin Riseley and Ted Rhodes, but in truth, the phrase “emerging professional musicians” would be more apt. Both performers are poised at the gates of a solo career; what steps they take, and how they progress musically in the next few years will determine whether they gain entry into this overcrowded field. Judging from their performance last evening, both have considerable promise. Their techniques are sure, their music displays sensitivity, and behind their sound one can sense keen intellects at work.

With a first prize in the 1988 TVNZ Young Musicians’ Competition and, among other achievements, a recent semi-final placement in the international Yehudi Menuhin Competition, Martin Riseley is at present the more decorated of the two. His handling of particularly Beethoven’s Sonata in C minor 0p.30 last evening was assured and craftsman-like.

The first movement was especially well-shaped; with an inexorable build-up of tension and dynamic levels, it was propelled by an excellent momentum. A sweetly delivered Adagio led to a scherzo and finale of high energy and spirits. If his second-half appearance was less satisfying, it was because of the disparate collection of material aired. It was brave of Riseley to tackle Wieniawski’s virtuosic Scherzo-Taren-telle 0p.16, but for the time being its cascading lines are a touch beyond his technical grasp. Ted Rhodes chose to present a variety hour of staple student-singer fare. Three Schubert songs, two Mozart arias, excerpts from Vaughan Williams’ "Songs of Travel,” and two Tchaikovsky romances ensured the listener would not grow weary of any one compositional style. Rhodes has a good stage presence. Indeed, if he would raise his eyes above the front few rows with greater frequency, it would be a striking presence. He has a voice to match. It is richly toned, securely pitched and cunningly rhythmed, yet carried an element of diffidence that acts as an emotional mask.

He makes telling use of facial expression and gesture and is able to weave a lengthy phrase with ease. Occasional touches of genuine drama, such as in the “Figaro” recitative, and glimpses of soul, as in the “Whither must I wander” conjSrm he has a gift for communication.