THREE SONATAS

Evening Post, Volume CV, Issue 89, 14 April 1923, Page 9

THREE SONATAS

SYMONS-PAGE RECITAL.

Handel, Elgar, a»d Lekeu were the composers from whom Miss Ava Symons (violin) and Mr. Bernard Page (pianoforte) selected three sonatas, played last evening at the Concert Chamber. They were Sonata in D Major,, Sonata ; in E Minor, and. Sonata in G Major respectively. Mies Symons and _Mr. Page need no commendation as artists at this late date. All that is necessary ts> say in this direction is that last evening they further strengthened and confirmed the intimate relations they had established at earlier recitals of the kind. Together and separately they l again pr/jved their sincerity and understanding jn. the performance of difficult and., to many in this part of the world, unfamiliar or rarely heard classical works written for the violin and pianoforte. Incidentally, they placed their audience under a great obligation to them for the opportunity they have afforded of hearing such works, an obligation that was fully acknowledged last evening. As to the works themselves : The structure, beauty, and strength of the Handel Sonata were fully-displayed without the slightest obtrusion of the personalities of the performers; yet their technique, temperament, and intelligence could not be overlooked. The treatment of the third movement, larghetto, was fittingly quiet and simple, full of expression and feeling,, in contrast wjth the sparkle and joyousness of the rest of the work. Elgar's work has been aptly described as "the music of a gentleman." In the sonata playedvlaet evening this description appeared to be correct; moreover, Miss Symons and Mr. Page, unappalled by the many diffioulties which a proper rendering of the number presented, conveyed the idea that they had fully entered into the varying moods' of the composer as ex. pressed in his work. Changes in rhythm and tinia were effected with perfect ease, and especially noteworthy was the.'artistic playing of the second movement, the "Romance." The rich colouring and subtle patterns in the whole work were brought out into the sunlight, so to speak, for all to see and wonder at. The Lekeu Sonata was interesting, apart from its musical importance, /because it was the work of a genius, a .student and disciple of Oesar Franck, a prolific composer who died at 24;. and because it was written as an act of homage to Yeaye, a great violinist, &, f ellow-coun-.tryman. It is an exceedingly difficult work for both the violin and the piano, which may account for the rarity of its performance. For the first time in Australasia? it is said, it wa6 played last year by Miss Symons and Mr. Page. It is safe to predict that it will be spared the fate of becoming hackneyed. The unexpected is constantly happening in the course of the sonata; it is full of elusive beauties, but pathetic in the extreme—always. Essentially psychic in character, it demands for its adequate and reverent interpretation an" insight and sympathy that Miss Symqps and Mr. Page last evening proved they possessed. There was something that the French would call inexpressibly triste in this work, something just more poignant than sadness, alternating with passionate outbursts, movements of revolt, anger, triumph, despair, but in the background always the tristesse. There were Jiints too of the sound of distant carillons stealing through the air, suggestions of soft days and still trees. It is a moving work to hear, even but once. The interpretation it received last evening was quite in keeping with its spirit.