NIGHT OF MUSIC.

Gisborne Times, Volume LXVIII, Issue 10737, 7 November 1928, Page 3

NIGHT OF MUSIC.

MISS VERA MOORE’S RECITAL. Lingering memories of the artistry of Miss Vera Moore, the distinguished New Zealand pianist, attracted a large gathering of music lovers 10 the first of her two farewell recitals to file City Hall last night. There the audience spent an hour and a half of enraptured delight. Possessing n naturally deeply musical temperament, whose sensitiveness Tins been developed lj.V intensive trailing and study m England and Austria, Miss Moore has also the facility of making the composers, whose compositions she presents speak for themselves, only taking care Hint no technical flaws shall impede their eloquent speech. A skin, graceful ngure, she. sits before her piano with the air of an artist. AFiss .Moore’s mastery over the instrument is as neyond question as her technique is irreproachable. Added to this flic pianist has the rare gift of expression of the composer’s meaning and .nterprets it with the skill that can only be achieved by an accomplished artist. One of the most interesting features of the recital was the brief sketchy descriptions of the composers and compositions which Miss Moore, played. Needless to say tliev were much, appreciated by the audience. A remarkable demonstration was witnessed at the conclusion which cp, me all too soon, the audience maintaining the applause until Miss Moore had played three, extra minitiers and even then those present, were loth to allow lier to leave the ol at form.

Miss Moore commenced with the beautiful Chorale Prelude “Sleepers Awake,” (Bach Borwick), which was interpreted with a deep sense ol feeling and was followed' bv Puinimell’s setting of the Chora’e Prelude, “Mortify Us by Thy Grace,” hei placing of which was alike delightful. Miss Moore readied the climax in the third of the trio o’ ■’Bach's numbers with the gigantic chromatic fantasia and fugue, sp well known among the great’works of this composer. '1 here was no melodrama in the piniysfs rendering of the masterpiece, and the power and meaning with which she interpreted the composition held the house enraptured. Beethoven’s sonata quasi fantasia, in E Flat Op. 27, No. 1 by Miss Moore with a wealth of, expression. Her treatment of the four movements irf flic beautiful composition, andante, allegrrp andante, allegro mnlto e vivace, adagio con espressione, allegro vivace, was wonderfully studied and restrained, and deeply impressed the audience. In marked contrast Miss Moore submit ted a ehnrnrng trio of Brahms’ studies, an intermezzo in B Plat min., Op. 117, No. 2. intermezzo in E, Op. IJti, No. 4, and C’apriceio in B min., Up.’ 70, with their varying melodies in a delightful manner, evoking the warmest applause, 'the performer then diverted to a comparatively modern composer’ in Scriabin’s Sonata No. 4 in F sharp Op. 30. the andante and prestissimo volando movements which she played with verve and abandon depicting the strange wild ha.-monv so ehnracteristirallv Russian. The rendering delighted her hearers, who accorded the performer an ovation. A “Spanish Dance” by Granados was another charming number in which Miss Moore depicted the spirit of the riance in realistic manner. Few in Gisborne have heard such a wonderful interpretation of Chopin’s rich warm “Barcarolle.” Miss Moore .played with an understanding and ■ meaning of the composer’s work that carried the house bv storm. At th n conclusion the pianist was greeted with prolonged applause and was compelled to give three numbers Chopin’s “Butterflv a Brahms’ waltz and Chopin s "D Fiat Waltz” before the audience allowed her to leave. It was a Temart-ahle demonstration worthy of so wonderful a recital. M’SS Mooiv’s hist "ecitnl will be given in the Citv Hall ibis evening when entirely different numbers w:l, be played.