REAL ARTISTRY

Taranaki Daily News, 14 March 1935, Page 7

REAL ARTISTRY

MR. MAUGHAN BARNETT’S VISIT. ORGAN RECITAL AT WHITELEY. The programme chosen, by Mr. Matlghan Barnett, Auckland city organist, for his recital St Whiteley. Mentorial Church, New Plymouth, last night was a happy mixture, drawn from tho world of imagination and, for most people, the more understandable World of fancy. Mr. Barnett’s reputation is DominionWide, and his playing last night demonstrated again the skill that enables him to interpret with colour and verve compositions that are far apart in motif and construction. He can made old music sound fresh, and he can make the fancifulness of a negro spiritual meditative and tender. Mrs. P. C. Davie’s vocal solo, “Sun Above Me” (Pergolesi) made a charming interlude in the instrumental programme, the accompanist being Mr. G. H. White.

Mr. Barnett added to the interest of the recital by a brief explanation of Bach’s chorale preludes, of which he afterwards gave six examples. In his earliest compositions Bach followed the practice of his predecessors and contemporaries of basing them on hymn tunes with extemporations by ,the organist, stated Mt. Barnett, but he later developed a method of his own, which he used, in a series of chorales published by nitn in his “Little Organ Book.” For a long time musicians had been puzzled by these compositions. They roemed to consist of short themes with no relation to the melody with which they were associated. Modern research, principally by Dr. Sleichter, a theologian who, as a missionary in Africa, with only a harmonium as an instrument, had become the finest authority On Bach, and had solved for musicians many difficulties regarding his work. ■, Study of the “Little Organ Book” had convinced the expert that through all the compositions there ran a little theme that had a special significance. The themes interpreted the emotions contained in the words of the text, which were given a certain rhythm in Bach’s music and he thus translated the meaning of the words into musical language. Dr. Sleichter found there were 25 root themes or rhythms made use of by Bach, and his investigations proved that Bach was not a dry as dust composer, but a wonderful tone painter. The address followed the first item on the programme, Stanley’s Concerto in D Minor. It was the least satisfactory of Mr. Barnett’s interpretations. The first movement was not impressive and there seemed a want of natural sequence. But any disappointment was swept away by the Chorale Preludes, of which Mr. Barnett had spoken so interestingly. Joy, peace, SdrfOW ahd hope wete the themes distributed among the six chorales chosen, afid in each of them the motif Was “reasoned” Out by brilliant interpretation.

Two dainty morsels, minuets by Mozart and Beethoven, followed. Mozart’s is the lilting piping of the ragged boy playing before a village inn, While Beethoven’s dancing is for the more wealthy and sedate, but both Were fragrant. Holloway’s Symphony in E Minor proved the gem of the programme. With Mr. Barnett it was something more than the interpretation, of merely decorative ideas. Even in the loVely Ahdahte movement lie was independent of sensubusnCss. The lilt of the third movement was not suppressed too fastidiously, while the arrogance of the Finale was a fitting conclusion to a masterly interpretation. The next item, Schubert’s Am Meer and March in D was a pleasant contrast, the familiar March receiving a warm welcome. Other numbers were “Andante ahd Finale” (GUilinant), “Evening Rest” (Hollins), “Scherzo and Toccata” (Gigout), a Negro Spiritual “Swing Low, Sweet Chariot,” with Volkmann’s “Herb’s Song” as xl .-.e final number.