EDNA NAUMANN RECITAL

Wanganui Chronicle, Volume 76, Issue 288, 6 December 1933, Page 6

EDNA NAUMANN RECITAL

AN ARTISTIC PERFORMANCE VIOLONCELLO AN VOCAL. instrumental recitals are not popular nowadays, and in consequence th\ have gone out of fashion. One reason for this lack of popularity is that the instrumentalists are inclined to crowd their programme with their own efforts. Jiuch artists as Szegcti can do this with success, but it remains the achievement of those who are in the first flight. Miss Naumann wisely did not endeavour to carry the whole programme herself, and this concession to popular demand was fully justified by her including Alan Brown in the programme. A pianoforte solo by the accompaniste, Dorothy Abernethy, would also have been an added attraction.

The programme was well constructed and provided a wide variety of compositions and provided the recitalists to reveal thtir breadth of technique and careful training. Their renderings were uniformly artistic and the audience showed their appreciation of the good work. Edna Naumann's opening number was a Suite of four movements by Eccles (1670-1742) and in each movement the executant was equally at home. The second number, by Lalo a Concerto of colour, revealed the possibilities of the violoncello. The Brahms number for Violincello and Piano, the first number of Sonata Op. 38, is a difficult piece, the idea of which is never very clear. There are some rich passages both for the violoncello and also for the piano, and Dorothy Abernethy carried these parts with niceness and precision, the two artists combining together with marked ability. The following comprised the concluding numbers: Aprcs uu Rove (Faure), Sicilienne (Faure), Larghetto (Mozart), Arlcqnin (Popper), and a well-earned encore was called for. Alan Brown contributed the following: “1 am Fate,” by Hamblin, a dramatic song which was rendered with a proper appreciation of the composition; “The Fishermen of England,” Phillips; “Rolling Down to Rio,” German; and for encore, “The Border Ballad” (Cowen), and as a final number, “Blow, Blow, Thou Winter Wind” (Sargeant). I bis basso is a natural ballad singer, his voice is true and his enunciation clear, the only error being a persistent singing of England as Ingland. Dorothy Abernethy played the accompaniments with delicacy ai.d understanding, and contributed generously to the undoubted success of the recital.

Miss Naumann wore a becoming frock of primrose satin with full puff sleeves, and Mrs Abernethy was in a frock of rose pink satin and tuscan lace with short puff sleeves. Among the appreciative audience were:—Mr and Mrs A. G. Cross, Miss Pnwson, Mrs Smith, Miss E. Smith, Miss Graham, Miss P. Latham, Miss • T - Blyth. Mr and Mrs Naumann, Mrs pr.vcr. Mr and Mrs Adkin, Mis- Wai-

lace, Miss Mollison. Mrs Doust, Miss Ross. Miss Doust, Miss Cumming, Miss Bullivant, Mrs H. G. Robertson, Miss Yule, Mr and Mrs W. Hutchens Miss Missen, Mr and Mrs Milne Allan. Mr and Mrs B. Hoar, Miss O. Gilbert son. Mrs Bannister. Mrs S. Rankin. Miss Elaine Newton. Madame Ivo S vines, Miss Bringezu, Miss M. JnrlMr Collier. Mr R. Jack, Mr an d Mrs Watters, Mrs Bridges, Miss Bridges.