MUNICIPAL CONCERT

Sun (Auckland), Volume I, Issue 183, 24 October 1927, Page 13

MUNICIPAL CONCERT

BACH AND FRENCH MUSIC

In Saturday night’s municipal concert Mr. Maughan Barnett was assisted by Miss Margaret Stoddart and Mr. Hubert Carter. The programme was devoted largely to French music, but by far the most important work was Bach’s Prelude and Fugue in F minor. This is a deeply impressive and moving example of the master, and it stood out as a mountain among molehills (though two, at least, of the molehills reached eminence in their kind). Mr. Barnett has a perfect right, of course, to use the full power of his organ; but it would be interesting to hear the old music played on a lower dynamic scale, nearer to that of Bach’s own imperfect instruments—with a possible gain in clearness and comprehensibility. Cesar Franck’s Pastorale has always been played by Mr. Barnetf: as though he loved it. This is, indeed, the most charming and soothing of little works, like a twilit landscape of Corot or Anton Mauve. Monotony is, in general, to be disprized, but one finds a positive virtue in the gently hypnotic droning of this small, shy masterpiece. The Finale from Viefne’s Fifth Symphony is notable, like the composer’s other late works, for its resourceful treatment of rather arid material. The result is a harshly brilliant and sometimes exciting movement, with quieter episodes of real beauty. Mr. Barnett seemed to have perfect control of the exorbitantly difficult score; but modern French harmonic ideas sit rather strangely on the organ. Things that Ravel, for instance, applies wittily and delicately to the piano or string quarette —these sound very different when they are used with all the organ’s weight. Yet Vierne makes an interesting figure where so much is dull. Mailly’s “Marche Solenelle,” Bonnet’s "Romance sans paroles,” and Goss- ; Custard’s “Evening Song” gave evidence that distinguished organists are not always gifted composers. The audience bade farewell with genuine regret to Miss Margaret Stoddart. who has played at many of the municipal concerts during recent years. Saint-Saenss Introduction and Rondo Cappriccioso is not the kind of work that Miss Stoddart plays best —• she seemed not quite at ease on its polished surface, below whjch there is nothing. But this was a very good performance, and still better were the Chansgn Louis Treize and Pavane, and "La Precieuse,” of Couperin, arranged ! by Kreisler. Miss Stoddart repeated as additional numbers her fine readings of the Beethoven-Kreisler Rondino, the "Londonderry Air,” and D’Ambrosio’s “Canzonetta.” Mr. Hubert Carter has recovered his voice, and made a far better impression than that of Thursday’s concert. His tone and manner were sentimental for the Prayer from Massenet’s “Le Cid,” but lie was well suited in three old English songs arranged by Lane Wilson. These, and several additional numbers were sung with much cleverness. Mr. Carter’s style was often rather artificial and exaggerated, and his mezza voce was sometimes close to falsetto.. But his success was undoubted and popular; such applause is : rarely heard at these concerts. Mr. Leo Whittaker was, as usual, a capable accompanist.