ORGAN RECITAL

Taranaki Daily News, 18 October 1927, Page 11

ORGAN RECITAL

MR. R. N. RENAUD AT WHITELEY. The large audience present at Mr. R. Neville Renaud’s organ recital at Whiteley Memorial Church last night was proof not only of the high place the artist holds in local musical circles, but also that the appeal of- high-class music has lost none of its force. To describe Mr. Renaud’s artistry in a word is not easy, but to say his playing is “cultured” may perhaps convey some idea of its main characteristics. Not the “culture” of the superior person, nor oi the slightly snobbish university product,'but the culture that-shows a balance in' work, that enables a musician, so to speak, to mingle with his equals and liis superiors in his art and to do so with deference yet at his ease, and, further, so to interpret them to his audience as to awaken or revive “the delicious sense of sympathy” which is essential to true appreciation. Last night’s programme opened with Corelli's Concerto Grosso, and its range gave full opportunity for both player •and instrument. Beginning with strength in the prelude, it swings swiftly to a lighter touch in which “flute like notes made sweetest melody.” Follows a slow movement with a thrill, to which succeeds a rippling touch which leads the way to the dainty allegro, the whole ending in a concise, lucid and dignified finale which quickened and stimulated all who heard it.

Very different in texture was the Angelus (Scenes Pittoresques) of Massenet. Commencing on a note that is almost poignant, the work throughout contains qualities of grace and charm, though at times just a little cloying. Smart’s “Evening Prayer,” as might be expected, conveyed just the hush of eventide its subject demands. Beginning with a note of reverence that is almost awe, the music rises to high flute-like notes and again falls into quieter passages that finally lose themselves in what is very easy to conceive as the ecstasy of devotion. The fourth item was Parry’s Choral prelude on “Eventide,” a charming work in which the air associated with the well-known hymn “Abide with me” is prominent. Widor’s Andante Cantabile, from his Organ Symphony, was as correct and austere a work as would be expected from a composer who was professor of organ playing at the Paris Conservatorium. His Finale from the Organ Symphony No. 4 was much more florid, though it contains passages as sweet and thrilling as wild birds singing. It gave the organist an opportunity to show the rjnge of his instrument and this was fully availed of. If the Organ Symphony needed a fine instrument to do it justice in its breadth and spaciousness, the next item, Jarnefelt’s "Berceuse,” needed it just as much to reveal the cliann of its dainty simplicity.

The recital concluded with Guilmant’s “March in D,” a stirring coinposition that is typical of the man who popularised organ music in France after it had languished for many days. (Miss R. Rowe, who possesses a mezzosoprano voice of much sweetness, sang “The Cross of Calvary” to Gounod’s music. Though showing just a sign of nervousness in her opening' lines, Miss Rowe sang very charmingly and should be a decided acquisition to musical circles. Miss V. Ross, who gave as violin solos Lulli’s “Bois Epais” and Bach’s “Gavotte in G,” was crisp, clear and correct in her rendering of both items, the daintiness of the gavotte being excellently brought out.