MUSIC OF THE WEEK

Radio Record, 17 June 1938, Page 24

MUSIC OF THE WEEK

There is no art without life, sas here is no life without growth, anon There is no growth without change, There is no change without contro-versy.-Fvank Rutter,

BY

SCHERZO

THE Hutt Valley Liedertafel gave an excellent performance on the air last Thursday evening. Theconcert was relayed from the Lower Hutt by 2YA. It is the first time I have heard the combination, and the fine balance of the voices surprised me. In a smaller centre it is generally difficult for a conductor to obtain voices that blend well enough for concerted work. In this the Hutt Liedertafel is fortunate. The graduations of expression marks were a feature of the concert, and Conductor H. Brusey is to be congratulated on his treatment of the part songs. There was a slight tendency in the Bach number for the lower voices to dominate in one or two bars, but this did not by any means disturb the general effect. Male voices in concerted form can produce some excellent organ-like effects. JI am looking forward with pleasure to the next concert of the Hutt combination. mm Es) & AS soloists the Hutt choir had Lionel Harris (pianist), Master Keen {boy soprano) and Mrs. Edith Wiltshire (contralto). I enjoyed tke pianist pest. Even if he made one or two slips in the opening number, his playing was generally most satisfying. The Revolutionary Study (an encore item) was really well played, but it struck me the audience was hardly as responsive as it might have been. Mr, Harris has excellent left-hand technique and the piano broadcast well. The boy soprano performed "Orpheus with his Lute" and "Who is Sylvia?" most ereditably. Mrs. Wiltshire has a voice of good quality, but is inclined to sing a little too forcibly at times-for microphone work at least. However, she probably sang to the hall rather than to the microphone. x Fy Fed At Ohristchurch, Mrs. Nelson Kerr gave four songs on Wednesday evening. The vocal quality was good but the singer sounded a little nerwous. The final phrase in the "Saniman" was not interpreted in the usual manner. There was a definite break noticeable during the singing of this section of the song, and I thought the piano accompaniment was «a little on the heavy side for a lullaby.

N the same evening Mr. Greenaway was singing at 2YA, The songs were of the popular variety but Mr. Greenaway'’s yYoice broadcasts well. Again, however, there was an irritating break in the middle of a word towards the close of "Tired Hands." There

could, I felt, have been a little more freedom in style generally. I have noticed recently how so many singers make hard work of their en-gagements-singing should sound easy and free, there is nothing so fatal to the effect of true musicianship as @ "forced" performance. Perfect freedom makes ea: listening, ™ * * ™ afraid I don’t like piano-accor-dions-but I must say Mr, Hartman an American player giving recitals at the four main stations is an exceptional performer. fis technique is splendid and he plays correct harmonies! * & * PoE finest performance of the week was, in my opinion, by the Schola Cantorum from 2¥A. This most competent combination was broadcast on relay from the Maori Hall in the Dominion Museum. The music and the cathedral effect was most authentic. It was quite the best concerted singing I have heard for many years, and [ honestly consider the performance was as good as that of many English Chureh choirs Y have heard. Mr. Stanley Oliver was the conductor im a fine programme, The Palestrina number,

"Come, Let us Worship" was very beautifully sung. There was just sutficient reasomance noticeable in the hall to give the required cathedral effect. The nicest thing I can say about the performance is that it was reverent, * Ed x HBHARD a recital by Renee Nizan, the brilliant French organist in the Wellington Town Hall during the week, Mademoiselle Nizan is one of the finest organists I have heard, She is twenty-one years old, and her father is organist at Notre Dame, Paris. I hope that many will hear her for she is indeed brilliant. She plays entirely from memory-an amazing feat for so youthful a performer on the organ. Her playing of the Bach D Minor was 4 revelation, and her registration in the softer numbers was an example of artistic taste seldom displayed by far more experienced players. Renee Nizan has also a most charming personality.