A RARITY

Evening Post, Volume CX, Issue 148, 20 December 1930, Page 7

A RARITY

RECITAL OF CONCERTOS Performances of concertos in New Zealand are rare indeed. In the first place, «-chestras, until recently at least, have ocen rare, and rarer still are the opportunities for soloists to rehearse with an orchestra, let alone perform a concerto in public. Thus the presentation of five concertos by Mr. Jolm Bishop's pianoforte students at the Concert Chamber last night was something of an event, and incidentally the concert gave a further indication of the paucity of real musical appreciation in the city of Wellington. All overseas artist witli a foreign liauie scums, to be auie lo attract big auuiwicts, but between sucli visiw mere is nut suiueient interest 111 Jocai tiueut tu give jjurionuers eoimduuee m a return iur tnwr outlay, xt in umy because tneie iire a iuw, luuiiiv goodness, wiui coinage aud entnusiasm, Unit Lue art 01 music is Kept uuvc. J-t is ilcx>iorabiu tuat sucu a, concert as last lugnfs should have attracted only a hauuiui o£ people. Out it is m keeping \mu tlie paltry attendance of about !suO people a tew days previously at a concert by the Sympnuuy Orcnestra at "popular" prices, m aid of the unemployment fund, and a sonata recital a lew weelcs ago, also 111 aid 01 a charitable object, faun, people cannot De driven to music, and no musician wants tliem to be; so long may the lortitude of the enthusiasts last. Mr. Bishop is to be congratulated on his efforts to give liis students an opportunity to play with an orchestra, anu congratulations are no less due to the members of the orchestra who rallied round him. The concerto gives the performer an opportunity to display the liiguest technical skill, as well as an intellectual cultivation of music, and tlie attainments of the nine soloists last night fully justified the honour bestowed on them., i*'laws were surprisingly few, and admirable fluency and rhytiim, were attained iii even the most difficult cadenzas. Perhaps the most striking performance was given by Miss Judith Giesen in fcjaiutSaens's "Concerto No. 2 in G Minor." Ihis work is distinguished for its clarity and vivacity, even if it is Jacking in depth of feeling, and there are spectacular opportunities for both pianist and orchestra. The two movements have moments of supreme difficulty, but Miss Giesen attempted them with confidence. Her attack was always sure, and there were few blurred notes. Furthermore, she played the passages for her instrument j with the beauties uppermost. Misses Mavis Dillon and Phyllis Sealy played the allegro and andante movements respectively of the lovely Mendelssohn "Concerto in G Minor." The piano tone matched the beautiful passages for the strings, and a fine effort was made to bring out the romantic spirit of the work.' One missed the twinkling points of Mozart's inspired melodiousness in the "Concerto in D Major," but the gossa-mer-like threads of Mozart's harmonies are perhaps tlie severest test of touch. However, Miss Barbara Bannister (allegro), Master Moijris. Solomon (larghetto), and Miss Christine Browne (rondo) were responsible for some exquisite playing, and all showed grace of phrasing. Miss Kathleen Hume gave a very eveg performance in Mendelssohn's "Capriccio Brilliant, Opus 22," and reserved her power nicely for the climax, which was a typical Mendelssohn blaze of colour. In, the Grieg "Concerto in A Minor," with its dark shades and brilliance alternating like the Norwegian summer and winter. Misses Dorothy Hanify (allegro) and Eileen Boache (adagio and allegro) gav.o a performance of unalloyed ' pleasure. Both searched for the poetry of Grieg and both disclosed much of his lyric qualities. Throughout tlie evening it was evident' that tne orchestra was out to give every encouragement to the soloists. One would have liked more • body in some of the sections, but this was lacking because of numbers. After all, one cannot expect more than a pint from a pint pot, and what one could not help admiring was the responsiveness to the piano's phrases. Mr. Bishop, as conductor, directed every work with a now familiar musicianship.