VIOLIN, PIANO, AND VOICE

Evening Post, Volume CX, Issue 117, 14 November 1930, Page 4

VIOLIN, PIANO, AND VOICE

WELL-TRAINED STUDENTS

Sound training, and in some instances musical attainment well above the average, were demonstrated by violin students of Mr. Leon de Mauny, and piano and voice students of Madame do Mauny at a concert in the Town Hall Conceit Chamber last night. The programme was interesting and entertaining, despite the fact that it consisted of twenty-one items. The • outstanding performance of the evening was that of Mr. Desmond Lavin, a young violinist who needs no introduction to local audiences. A clean executant, he played with line tone and thoughtful feeling Sarusate'a well-known "Gypsy Airs." A less experienced performer who shows ability beyond her "teens" was Miss Prudence Lewis. In each of her three numbers, "Breath o' June" (M'Ewen), Brahms' "Hungarian Dance No. 2," and the Wieniawski "Legende" she rose considerably above mere technique and gave finished interpretations. Mr. Kenneth Magill, another violin pupil, gave a careful and correct, though somewhat colourless, reading of the first two movements of Handel's D Major Sonata for violin and piano, Madame de Mauny, who played all the accompaniments, being at the pianoforte. Others of Mr. de Mauny's pupils who played were Miss Eunice Bernasconi ("Valse," D'Ambrosio) and Mr. S. Harris ("Meditation," from "Thais"). : Tho pianoforte solos of Miss Leah Haughton were very enjoyable. Possessed of natural confidence- and a facile keyboard touch, ■ she was at her best in Chopin's Etude No. 5, Op. 10. Bracketed with this number was the well-known "Fantaisie Impromptu." Miss Eva Cowan, who played the Chopin Polonaise in A (Op. 40), requires to vary her touch and tone to a greater extent. Other acceptable pianoforte items were duets from Arensky's suite for two pianos—a valse by Miss Haughton and Madame de Mauny, and a "Polonaise" by Mr. Claude Hay don and Madame de.Mauny. The instrumental items were interspersed interestingly with songs. Miss Gertrude Smith has a well-produced mezzosoprano voice and a noteworthy feature (gf- her singing of Carl Bohm's "Still Wie l)ie N/acht" (with violin obbligato by Miss Lewis) was her good breath control. The same remark applies to Mrs. J. King, who gave satisfying'interpretations of the two- Schumann songs,' "Thou'rt Like a Lovely Flower"- and "j Will Not Grieve." The operatic excerpt, "O Love, From Thy Power" ("Samson and Delilah") was unsuitably chosen: for Miss Mona Mann. The quiet renderings of three.contrasting little vocal gems by Mr. J. Newton Goodson, light baritone, was one of the most enjoyable events of the evening. His bracket consisted of "Fiocca La Neve" (Pietro Cimara), "Turn Ye to Me" (old Highland melody), and "A Lament" (Coleridge-Tay-lor). His; singing-was marked by clear and careful diction. Del' Acqua's "Vilanelle" requires more robust treatment than Miss .'Nancy GrAy was able to give it with her light;though-tuneful soprano, which she uses to good-purpose. She will improve as she ga.ins confidence. A nicely subdued obbligato was provided by Mr. Laviiu Other vocal items were "Know'st Thou the Land?" (from "Mignon"), Mrs. M. Gandell; "I Pitch My Lonely Caravan" (Eric Coates), and "The Yeoman's Wedding Song" (Poniatow'ski), Mr. Harold Kirby; and "Open Thy. Blue Eyes" (Massenet), Miss N. Wilkinson. ':: Each gave evidence of careful study and a sound basis of instruction. ■■ ' ... .' The part songs, "To a Wild Rose" I (M'Dowell), "Ye Banks and Braes" (arranged by Percy Fletcher); and "To the Woods" (Hamilton Clarke) were given by the Misses N. Wilkinson, K. Miles. X Quirk, G. Swinney, L. Guilfoyle, L. Duff, M. Mann, and G. Smith.