COLLEGE MUSIC RECITAL

Press, Volume LXXXII, Issue 24911, 26 June 1946, Page 8

COLLEGE MUSIC RECITAL

HIGH STANDARD FULLY MAINTAINED

The first evening recital of the second term was held at Canterbury College last evening, when an extremely interesting programme, having, as its basis> the tracing of the influence of folk song on instrumental composition, was presented.The folk song has had parental influence on a number of art forms in music, and it was in demonstration of this, mat most of the groups were chosen. The programme was opened by Joseph Mercer (viola) and Vernon Griffiths (piano), who showed a happy collaboration in four Irish folk tunes from the Petrie Collection, and two folk tunes (Norwegian and Irish) attractively arranged by William Alwyn. This was followed by an admirably balanced group of seven songs sung by Keith Berry. Mr Berry’s singing is always instinct with musicianship, and his sense of interpretation, in numbers ranging from the sixteenth to the twentieth centuries, was never at fault. This group comprised: “When, Lo! By Breake of Morning” (Morley), “Kind Fortune Smiles” (Purcell), “Mighty Lord and King All Glorious” (Bach)> “Sweet One-and-Twenty” (Handel), “Prince Eugene”. (Loewe), “The Splendour Falls*’ (Gibbs), and ‘'Sigh No More, Ladies.” The crispness and clarity of the roulades in the Purcell and Handel numbers were specially enjoyable. Vernon Griffiths accompanying to this group, was in excellent style. Ernest Jenner chose as his numbers three sets of variations—on “O Mistress Mine” (Byrd), and two sets by Dohnanyi, one on “Dies Irae” and the other .on a Hungarian folk Song. The juxtaposition of Byrd and Dohnanyi admirably demonstrated the tonal and dynamic resources of a modern pianoforte. Byrd’s music, of course, was not written for the piano, and keyboard instruments of his day (late sixteenth century) were severely restricted in tonal quantity and quality, while Dohnanyi is an absolute master of piano recourse. So also is Mr Jenner, as he proceeded to demonstrate, giving some really magnificent playing, especially in the variations on a Hungarian folk song. This was followed by the very fine Schumann song cycle, “A Woman’s Life and Love,” sung by Mrs Claude Davies. Mrs Davies’ rich quality is admirably suited to this type of music, and with Claudg Davies as her accompanist, she gave a thoroughly sound interpretation of this very diversified cycle. To end the programme, the BateMercer Quartet gave “Folk Song Suite for String Quartet,” arranged by Thiman. Dr. Thiman’s idiom here is piquantly modern, and the four numbers comprising the suite gave ample opportunity for tonal contrasts. The playing throughout was of the standard which one has come to expect from this combination. After the suite the quartet gave “Drink To Me Only.”, and an arrangement of negro spirituals, which, of course, fall into the folk spng class. Altogether the programme was equal to‘the Very high standard associated with this series of recitals