IDEAL PROGRAMME

Otago Daily Times, Issue 27433, 5 July 1950, Page 6

IDEAL PROGRAMME

Colin Horsley’s Recital BRILLIANT PLAYING Great interest has centred round the two recitals of Colin Horsley, the second of which was given in the Concert Chamber last night. The fact that it was a full house was in itself a tribute to this brilliant young New Zealand pianist who has graduated from the youthful prodigy class into the sphere of serious musicmaking. The programme last night was more suited to his particular gifts and was of a more uniform excellence than the previous one. Mozart and Prokofieff were a happier choice than the Beethoven and Brahms of the first recital Ideally, it seems desirable for an artist to explore the widest possible field of music, but, since it so seldom happens that every • composer is understood with equal penetration, it is more rational to limit the choice to include only those compositions which are suited to the technique and comprehension of the performer, whose role is not only that of performer but interpreter.

No fault could be found with last night’s programme on its suitability, and Colin Horsley touched nothing that he did not adorn. I did think, however, that the order in which the three sonatas in the first half were presented was not in the best interests of all three composers concerned, Mozart, Prokofieff'and Chopin. After the vital clear-cut rhythms and unemotional brilliance of the Prokofieff, the eroticism of Chopin was in violent contrast and required some mental adjustment on the part of the listener. Mozart’s sonata in B flat, K 333, was a charming contribution, the pianist missing neither the tonal beauty and fluidity required for the. first and third movements nor the deep seriousness of the Andante.

The Third Sonata of Prokofieff, stated to be in one movement but really in three short contrasted sections, proved to be a very attractive work and was played with great precision and brilliance. The opening allegro was characterised by vital, barbaric rhythms, the slow movement had a quiet dignity, and the scherzo was sparkling and pianistic. In the second half, “ Jeux d’eau” by Ravel, “ L’isle Joyeuse” by Debussy, and an arrangement by Rachmaninoff of the scherzo from “A Midsummer Night’s Dream,” by Mendelssohn provided an excursion into the realm of fantasy, the playing in each being colourful and light. Two preludes by Rachmaninoff, E minor and G flat, and the Fourth Ballade in F minor, by Chopin, concluded, a most enjoy able programme. M