PIANOFORTE RECITAL

Hokitika Guardian, 17 March 1927, Page 3

PIANOFORTE RECITAL

BV TIAAGEN HOI.EXEEKGII

Music excellently chosen and splendidly rendered, interspersed with word pictures equally well clmscn and well phrased made Haugen I lolenbcrglv’s recital yesterday afternoon a thing oi sheer delight for the appreciative audience assembled in St. Marys ( ltd) rooms. The recital was characterised by exquisite artistry, finished musicianship, brilliant technique and masterly simplicity of style. Ihe programme consisted' of bur groups illustrative of lour distinct periods of musical history.

Mr Holenbergh piefaced lii.s inspiring performance of the magnificent “Prelude and Fugue in A minor’' by a. brief sketch of its composer—the famous Johann Sebastian Bach, the greatest of Fugue writers, lie traced the evolution of the Fugue from a choral work t:> an orchtstral work find explained the simplicity of its form and construction, comparing it to a Gothic Cathedral in its harmony and architectural design. Other examples of fiie work of the great cEtssieists of the ISt h century were Handel's “Bouree'' most delicafccly played as a typical example of the music ol an age of refinement but also of artificiality and cynicism. Gluck, the father of epej’.tic music, a man of ideas and a master of melody was represented l>v two excerpts from “Orpheus” —“A Dance of the Blessed Spirit” in form of a Sara ha tide and “The Shadow Wandering of Kurkiue." These were interpreted with subtle imaginative power. In the 19th century the classical period give place to the great romantic movement in literature and art. Romanticism was an aosolute revolution in form, taste, and expression, (a the music of the time we find sincerity. imagination, emotion and a certain amount of mysticism. The greatest exponent of the romantic school is Beethoven, the centenary of whose death will be celebrated on Marcli 26tli, 1927. Beethoven uses the piano as a kind of orchestra lienee the grandeur of his effects. As illustrative I of Beethoven’s genius. Mr Holenbergh | thrilled the audience with the mi logical “Moonlight Sonata” the first and third movements of which were wistfully sympathetic and tender though strangely enough the second movement was somewhat leaden.

The third group chosen by Mr Holenbergh displayed tone pictures of the Northern school of modern composers of Norway, Sweden. Denmark and Finland. After a brief description. Mr Holenbergh depicted with exquisite touch the mountainous grandeur and quaint customs of Norway in Grieg’s “Bridal Procession the colourful beauty of garden-like Denmark in Lange-Muller’s “Woodland Poems.” The tragic history of Finland was

mirrored in Sibelius’s “Yalse Tristc” and tiie poetry of Sweden in Sjoegren’s bewitching “Erotikqn.” The last part, of the programme was perhaps the most fascinating and certainly the most exacting of all and it, was in tho Chopin “Jinllade in A” that Mr Tlolenbergh gave full play to his power. Chopin has never been surpassed as a pianoforte composer and in this Ballade is crystallised Chopin’s genius and poetic expression. Mr Tlolenbergh interpreted it after BurneJones’s picture—inspired by the work .—a lady seated on a richly caparisoned horse near tile entrance to a forest. The picture called up an impression which Mr Hoienbergh in his (flaying wove into a veritable fairy tale—Llie slow cantering of the horse, the dainty l.tirs and graces nt the lady, the progress and incidents ot the way and tho triumphal entry to the castle. Difficulties vanished and with utmost ease Mr llolenliergh used the grand work to tell all unforgettable tale. For a filial number Liszt’s “La CD 111panel I a”—-based 011 a Pagan inn i study wus rendered in the brilliant style such 'Tiro-work” music demands. The hell-like effect was perfectly produced and the difficult trills were a revelation.

The piano used by Mr Holenhergh was kindly lent by the Bristol Piano Co. which deserves the thanks of the audience.