CHAMBER MUSIC

Otago Witness, Issue 4048, 13 October 1931, Page 62

CHAMBER MUSIC

AN INTERESTING RECITAL It was a matter for no little surprise that the attendance at the recital of chamber music given in the Town Hall Concert Chamber on Wednesday evening should have been so meagre, for the programme presented, although not of the class which can rightly be termed popular, was composed of vocal and instrumental works of unusual interest to students of this type of music. The instrumental numbers were entrusted to Mr Max Scherck and Mrs E. T. Porter, whose presentation of three sonatas for piano and violin constituted a performance of decided merit. Mr Scherek’s ability as a concert pianist is too well known to Dunedin audiences to require further recapitulation here, and, as was to be expected, his performance as a whole was noteworthy for artistry of interpretation and decisiveness of treatment. Mrs Porter, a newcomer to Dunedin concert platforms, proved herself to be a violinist of excellent qualifications, her work being characterised by accuracy of stopping and depth of expression, whilst her bow work was always firm and sure. The programme opened with a performance of Lekeu’s Sonata in G, a composition which provided a searching test of the artistic and executive ability of the two instrumentalists, a test through which they passed with considerable credit. Delius’s Third Sonata for Piano and Violin, composed last year, was a delightful example of modern composition. The final instrumental offering was Beethoven's Kreutzer Sonata, a composition which gave the performers an opportunity of displaying their familiarity with the swiftly changing moods and strong contrasts so evident in the works of the great master. Commencing with an adagio sostenuto, the theme swung into a brilliant presto, which was given vigorous and colourful expression, whilst in the andante con variazioni the flowing theme was developed and embellished most artistically, admirable tone quality being maintained. The tripping and vivacious presto which concludes the work received a particularly satisfying performance, the dazzling finale rousing the audience to a high pitch of enthusiasm.

Two groups of songs, foreign and modern English, were presented by Mr G. W. Johnstone, whose performance as a whole was characterised by artistry of interpretation and depth of expression. Each song was a gem in itself, and Mr Johnstone's unerring ability to catch the true atmosphere of each composition made his presentations doubly enjoyable. The foreign song group was opened with Schubert’s “By the Sea.” a charmingly reflective number which received very delicate treatment. A second Schubert number, “ The Trout,” two compositions by Hugo Wolf, “ Come, Mary, Take Comfort,” and “Tramping.” Jensen’s “O Press Thy Cheek Against My Own,” and “ I Blame Thee Not” (Schumann), completed a bracket of songs covering a wide variety of moods. The modern English group was composed of “ Silent Noon ” (Vaughan Williams), conveying the atmosphere of peace and quietude, “ Like to the Damask Rose” (Elgar), “My Sweet Sweeting” (Keel), a charming little love ditty, “When Childer Plays” (Walford Davies), a swift-moving, happy composition, having all the inconsequence of children at play, and “Jerusalem” (Parry), Mr Johnstone receiving an ovation at the conclusion of his performance. The pianoforte accompaniments to the singer, which were played by Miss Rona Thomson, were a delight in themselves, the pianist displaying exceptional interpretative and executive ability.