DR. HAIGH'S RECITAL

Press, Volume LX, Issue 18236, 21 November 1924, Page 13

DR. HAIGH'S RECITAL

AT THE CATHEDRAL. T6 tho eyes of the great public tho cXAftiinora in music seem like ghostly birds of passage, just dimly perceived and lost to sight again. If they could follow tho csarnplo of our present visitor, Dr. Haigh, who acts on behalf of tho Associated Board, by making us directly conscious of their own high status in tho English music -svorld, we Should not only derive benefit and ploasure, but value the more their judicial decisions on the strength of our own experienco. For most people Bubscribo to tho adage, "Scoing (or hearing) is belioving." Liko many another very plausible theory, tho suggestion is more easily made than done. With every hour of a long day mapped out for strenuous, harassing dutie9, when could thoy find timo for that which the best, or tho worst, executants cannot dispense" with—practice on their instrument? That Dr. Haigh has somehow circumvented this obstacle was our gain. In choosing the Cathedral organ, ho was "up" against another formidable disadvantage. Antiquated and worn as it is, despised and rejected by men, the best of what may yet be made of it, wo can trust Dr. Eradshaw to extract.

.. Even so, Dr. Haigh'a recital was in every respect a thorough success. It required little time to recognise his mastery of the instrument, his perfect tasto, tho' traditional restraint of his fehool averse from sensationalism and exaggeration, and his flense of beauty. The programme was happily ehose'u from fine, sterling organ music, and interest was added by the inclusion of some of Dr. Haigh 's own compositions. First of all he presented an admirable Sonata, comprising a meditative allegro, a canzone of graceful, soothing melody, and a Finale, stately in design and leading through expert fugal treatment to an imposing Coda. Lator on a sweet "Cradle Song" and an enticing "Scherzo" bore his name, and proof of his skill. Every number of the programme deserved its placing, the Chorale-Prelude by Brahms, the Suite Gothiquo' by tho French master Boellmann, with its lovely "Priere," and splendid "Toccata," which tho ro'citalist led up to a splendid climax, Thon Bach's "Passacaglia," great, stirring music, throbbing like a human hoftrt that seeks relief and peace, conveyed faithfully in its interpretation tho genuine emotion. An "Agitato" by Kheinberger, a most effective number, and tho tuneful Overture in C minor by Hollins completed a recital Of outstanding merit, in which every note was a pleasure to listen to. Tho attendanco alone was utterly disappointing. It is deplorable that even at n, merely nominal charge or none, so little eagerness was shown to hear such beautiful musie as Dr. Haigh provided to the delight of everyone, wise enough to be present.