DUO PIANO WORKS

Evening Star, Issue 21993, 1 April 1935, Page 2

DUO PIANO WORKS

PRESENTED IN NOTABLE RECITAL Duo piano music lias deserted its somewhat restricted atmosphere of the mid-Victorian drawing room in late years for a deservedly wider (and a no less appreciative) circle of listeners. Local audiences have heard and enjoyed several, of this class of chamber recitals during the past two seasons, but their lustre must he dimmed in memory by reason of the colourful executant brilliance of the recital by Mrs B. R. Nees (nee Koa Oliver) and Miss .Winifred Gardner on Saturday night. A more suitable pair to collaborate in the essentially difficult presentation of works for two pianos could not be imagined—at least locally. Their techni-. cal powers are finely and sympathetic oally tempered; it was that attribute, which created the favourable first impression. But there was more to their playing than that. Every note and phrase was a deeply studied effort, so that what might have been a conflict of interpretation was actually the welding together of two perfectly agreeing ideas. Like her one-time teacher, Mrs Blanch® Levi, Mrs Nees is a pianist of tremendous virility and nervous force, and so engrossed did she become in her playing at time's that she was apt to overlook the necessity for studying the more subdued mood of her partner. However, consideration must be given to the limited size of Begg’s concert chamber, which held a most satisfactory audience to hear the recital.

The programme was opened by Moeart’s charmingly simple ‘ Concerto in E Flat’ (No. 10), the pianists having as associates in its rendition a quartet of strings, led by Miss Ngaio Garland. The first passages of the allegro were rather ragged as far as.the violins were concerned, but the combination soon swung into the characteristically bright and tuneful mood of the work. Rachmaninoff’s ‘ Second Suite ’ (opus 17) followed, a tempestuous work, whose verve was admirably caught and held to a triumphant end, being notable for the confidence with which it was treated and the co-ordinated smoothness sustained throughout. The Brahms ‘ Variations on a Theme by Haydn ’ was more academic and was easily the mqst_ difficult work of the evening. It is introduced by a beautiful theme in the form of a chorale, thereafter resolving itself into a mass of intricate musical detail that fully tested the performers. Throughout they were perfectly attuned, and fully deserved the spontaneous applause that punctuated the conclusion of each of the nine variations. Then came Beethovenwell represented in Saint Saen’s ‘ \ ariations on a Theme ’ (opus 35) of the master’s composition. The melody was taken from the poetic beauty of the ‘ Sonata in B Flat ’ —a glorious introduction to what was indubitably the tour de force of the recital. The variations were accorded an intelligent and masterly reading, the delicate expression of one o( Beethoven’s moods, as represented by the intensely thoughtful playing of Miss Gardner, providing an ideal background for the fiery outbursts so finely introduced by Mrs Nees. It was in this work that the latter player excelled herself, though at no time overshadowing the other pianist. The opening of the fugue especially -was exquisitely managed. The recital was concluded hy a composition of the modern school, ‘Toccata’ (Widor-Phillips), an ornamental affair, originally written for the organ. . _ ' A group of vocal solos, in winch Miss Meda Paine’s pleasing contralto voice was heard, were given during the evening. Each was notable for a clear enunciation. The songs were: ‘Amida’s Garden’ (Parry), The Toll Gate House’ Roley), ‘The Soldier’s Wife’ (Rachmaninoff), 1 The Bells ' and ‘Mandolin’ (Debussy), and 'The Pet iicoat ’ (Richard Trunk). Mrs Necs was the accompanist.