CONSUMMATE ARTISTRY

Evening Star, Issue 22990, 22 June 1938, Page 2

CONSUMMATE ARTISTRY

SUPERB ORGAN EXPOSITION RENEE NIZAH'S ENLIGHTENING RECITAL The musical year was given a fresh and most distinctive accession of interest with the appearance of Bence Nissan, tho celebrated French organist, in tho Town Hall last evening. Mile Nissan lias all the attributes of a master musician, and tho performance she gave was one of consummate artistry. It was a superb—and enlightening—exposition electrifying _in its effect. As Dr Galway said when he so happily introduced Mile iVzan, tho visits of great organists to Dunedin were very rare indeed (it is more than 30 years since Lemare and Hollins played here), and consequently this was a red-letter day for tho city—an opinion that was to he spontaneously endorsed in tho ovation accorded Mile Nizan at the conclusion of a genuinely exciting performance. Dr Galway spoke of the development of modern organ music, with special reference to the remarkable individuality—both in composition and performance—ot the French school, of which Mile Nizan is such a distinguished interpreter. There was a comparatively large audience at this most exceptional recital, which merited “ capacity.” Still, the best organist in the world would not attract a packed' house anywhere, due to a wide lack of appreciation of tho organ as a concert medium. Mile Nizan provided for the audience that heard her last evening an unforgettable experience in her masterly exploitation of the rich and almost ‘inexhaustible resources of a magnificent instrument. A slight figure, and still in her early twenties, Mile Nizan is nevertheless in .the front rank of tho great artists ot the world to-day. She has great brilliancy in her music, and ft technical equipment used with bewildering effect. Complete authority stamped all her work last evening. Deft, incisive fingering was indivisibly linked with brilliant pedalling to effect faultless registration. The dominant note of the whole recital was the sheer brilliancy Mile Nizan produced, a note that held the interest of the audience at its highest pitch. Of each work there was an_ individual and wholly absorbing reading. The programme was very largely composed of music by French composers, and—what was very remarkable indeed—lo of the 11 selections wove played without scores. From tho great crashing chord that introduced the Dallier ‘ Flecta du Sol,’ Milo Nizan commanded rapt attention. There was brilliant registration in this arresting work. It was simply analysed, yet given immense power. It vividly offset the lovely soft tones of Couperin’s ‘ Soeur Monique,’ with its delicate tracery and fanciful elaboration. Tho Bach ‘ Now Rejoice AH Christians ’ was notable for the entrancing righthand development against the air. The complex reconstruction of the old carol tune in the d’Aguin ‘ Noel ’ produced most engaging contrasts, soft liquidity giving place to immensity. The echo effects were captivating. The allegro from Widor’s Sixth Symphony was u wild and tempestuous affair that electrified everyone. It was built up to a massive climax that brought a storm of applause. There was some very delicate fingering in the Cesar Franck Prelude, Fugue and Variations. Tho sensitiveness of the colouring hero was most charming. Do St. Martin’s stimulating Scherzo (which tho composer dedicated to Mile Nizan) held an invigorating strength, and was brought to a lovely subdued climax. Vicrnc’s ‘ Hymne an Soloil ’ ushered in the concluding third group. It was played with great brilliancy. The delicate ‘ Stella Matntlna ’ of Dallier then gave place to tho immense toccata from the Fifth Symphony of Widor. For her _ only encore Mile Nizan presented a piquant and quite, entrancing organ transcription of Rimsky-Korsakoff’s ‘ Flight of the Bumble Bee,’ which was simulated with uncanny realism. All in all, it was a recital that brought groat and enriching pleasure to everyone who heard it.