ORGAN RECITAL.

Dominion, Volume 7, Issue 2133, 27 April 1914, Page 2

ORGAN RECITAL.

A Ischailcewsky iiigM, and ill* whole or the Sixth Symphony Iα i» pluvcd on the organ i The older school Vrf or. j?a.mste β-ouk) cry anathema on such a procaine. "Surely the ergaji should bo used for strictly organ music, and iiflt far tho iittorprotattoi! of great orchestral masterpieces i* Even if tho player could surmount the technical difficulties,, the brilliant and ever-varied eetourinjt oi tho orchestra could not to obtained'-the piquancy of the strings, the smoothness of the wood-wind, the sonority-of: tho brass." Such would be ibe gist ©f their criticism, Wo adiiiit at once .'that an ■ organ, no matter now fine, cam never bo an ■orchestra, ■ but -hi Mr. Piigo's baniis on Saturday meat the whole effect came very close to the real thing; particularly in tlio string tone, derived from the bcauti- : iul throw-rank celeste on the choir. Again, Mr. Pag© has: it. kef hod of his | ?> v \ h y winch »e gets tho real bite of ] tho brass—a method which is very no- I ■•t-iceablc where ho. wants kirn etttcts One nwjtht multiply instances, The only advice one can tender to critics of tho type mentioned is to go and hear lor themselves, The "Pathetic"' is tho last of Ischaifcowsky's symphonies. It breathes an atmosphere not so niwch of sombreness mid gloom as of noble sorrow awl. .regret. . This is especially so jii the first aud feat movements. I'efl».lps tlio first movement is the most beautiful, with its exquisite andante-■ melody breaking, in at intervals, and concluding; the number. it has that »wu}«i«f poignancy of grief only heard m Jlussiaji music, and in no otlicr. It ; bus _ been -alleged that Ts-ehaikowsky's music is decadent.' Nβ one can a.pply such an epithet to this symphony: the tlura movement dene dispels the idea. H breathes triumph—lh* conquest of death by immortality—given out iu a simple subject in merch rhythm, and gradually worked'up to an* overpowerIHK climax, 'frliieß .'is-thundered oiil'mr the tubas. , The second and last movements 'hav* been arranged for the organ, and ..a,ro <jfte« played, . b,uf.- wo know ot no reqtßl.wlreii'the symphony ha.s been givcii in full. The,first, sni} third,Tuopemejits *er« plsypd. from tlj*i pianoforte score, supplemented-.by the organist's intimato knowledge "of the full , score, Tho strain on the organi-st during the performance roust have been' very severe. The emotional context of such a book demands an equal vaspoiise on the part of the playor, and Mr. Paßc gave to tho full of all lie had. ,It was a marvollaiis p.iceo of erfiaii playing, audit establishes Mr. Pago's reputation. Not only as an organist of tho front, rank, but as a musician who can interpret modern mchesttal scores in all tnt'ir beauty and richness of colouring. .. * . . . Tho second half ef the programme consisted of a. lovely Elegy in 6'for strings, all intermezzo with, a haimtr iag melody, foik song in character, and a iniissivo ftigne with a very bold subject given out on the. tubas. There was quite a good audience. Such a programme was no doubt strong: "icai to ft number, but few people left the hall, and the organist .got a most attentive hearing—after the third movement, even enthusiastic, fo appreci-. ajo such music one hearing is iuswffi-. Rient. Is it teo iiuioli to hope , that we. shall ore long sec Sir, Page conducting this masterpiece with a i'wl] orchestra?