THE GUY ORGANIST

New Zealand Times, Volume XLVI, Issue 10609, 7 June 1920, Page 2

THE GUY ORGANIST

HIS SODth RECITAL. Air Bernard Pago (city organist), who lias now been soma years in Wellington, gave last Saturday night his 200th recital on tho Town; Hall’ organ; but, apparently, he has not carried the public with him. Tho ordinary man, it seems, does not evince much interest in the organ or its music. This is a pity. It ill hard to think of a reason complimentary to the public. One would think that those at least who are musical would give greater support to tihet artistic and educative work All Pago is doing. But no, the attendance even at last Saturday's recital was disappointingly small. The Wellington city organ is on© of the finest, arid the city organist one of the most brilliant executants in Austral a, si a; and yet tho recitals have riiet with a oouiprirativo neglect.- Yeti there aro some—it is hoped their number will increase—to whom his recitals have been a joy and a recreation, arid though their respect and admiration may bo worth little. Air Pago has these. .Last Saturday’s recital was one of th© beat the city organist has over given; both programme and playing wore exceptionally fine. It opened with a recent addition to Mr Page’s repertoire, Pachelbel’s beautiful “Ciacona,” which in construction reminds one somewhat of Bachs “Passacag.ha”—a series of variations ending in a return to tho first fortissimo above a four-bar ground basy It was followed by Harvey Grace’s well-wriitlaon “Legend” (op. 16), and d’E-vey’s “Idyllc” and “Aar Soir” a graceful tribute to Mr Fanes.old teacher). Both were of the familiar d’Every type each having a_ charming melody with an unconventional subdued accompaniment, but affording a complete contrast in registration. The vox bumana and reeds being used with noved effect in the first; in the second mostly flue-stops. This was enthusiastically encored. Silas's “Fantasia” (op. 117) was one of the moat successful items of _ tho evening—a frequently recurring introductory theme: a brief fugal passage leading -to a delightful piece of melody, and some ingenious manipulation of themes ending in a trumpet-call from tho tuba and an impressive climax tor the full organ. Tho Prelude to Act. hi., of “Tristran and Isolde,” charged with the universal tragedy find grief that found such supreme expression in Wagner's greatest work, completed tho first part of tha programme. The second comprised Itwo of Cesar Franck’s most perfect compositions—the “Pastorale!” (op. 19) and the “.Finale” (op 21); tho first with its almost superhuman beauty, its indescribable Oorot-liko atmosphere of sun-soaked earth and trees; the second, so magnificently dramatic in theme and development, so noble in. conception and execution. Air Page has never played the “Finale’’ better. Two adverse critiscisms —one does not on such an occasion like to note the absence of Bach from the programme (except in a note); and the unbeautiful rattling of the tremulant ruined one or two of the most exquisite passage®. Air Pago mav not be as popular as some cinema starshe may not have the following of a Chaplin or a Pickford ; but he has his ideals, and he has lived up to them, and for this, if for this alone* he deserves our admiration.