The Week's Music...

New Zealand Listener, Volume 35, Issue 899, 26 October 1956, Page 16

The Week's Music...

by

SEBASTIAN

NUNDATED by large-scale celebrations such as the Edinburgh Festival, we are apt to discount anything smaller as beneath notice. For instance, the Aldeburgh Festival, which is practically a living memorial to a living Benjamin Britten, is limited to works for small forces by the town’s diminutive performing space. This does not make it less important in its way, and much old and new music is aired there, and by world-famous artists: of course, Britten is always on hand as composer, conductor, violist or pianist, and the musical successes are largely due to him. For instance, in one programme (BBC) of this festival, two Purcell Fantasies contrasted sweetly with the seldom-heard song cycle of Vaughan Williams, Among the Fields, and still more with the third String Quartet by Frank Bridge, an ex-pertly-written work which I found very satisfying, even at a first hearing. Whatever musical sins Bridge’s pupils are guilty of, he has avoided the pitfalls himself, and this is essentially a kind piece, with not too much hustle or strain for the small group-unlike many more modern quartefs. The playing, by the Zorian Quartet, was as pleasing as the work, One other programme was devoted chiefly to small organ and choral pieces of various periods, with lovely singing

from the Purcell Singers. Especially interesting were three organ pieces from the Elizabethan era, with harmonies that sound daring even today, and an odd modal effect that enhances their originally religious purpose. Two motets, one by Britten and one by Lennox Berkeley, showed the latter in a good light; though I must add that Peter Pears was singing, a fact which would add lustre to the meanest song (and not infrequently does); but this piece was good hearing for its own sake in any case. From the larger current festival at Edinburgh we heard one more programme of note, comprising church music by Schubert sung by the Vienna Hofmusikkapelle. The sixth Mass is among his most powerful writings, and the performance was first-rate; but the shorter Offertorium and Magnificat I liked better, if only for their rather more intimate atmosphere; they seemed more typical of the Schubert we know best. Locally nothing of import has cropped up, apart from Victoria de los Angeles continuing her exquisite recitals (YC links); and I shall never want to hear "Death and the Maiden" sung differently from her rendering. The only pity is that she is not staying longer within broadcasting range.