Christchurch Mail - - BODY MIND SPIRIT FESTIVAL -

The two most sub­stan­tial works of the recital were Bach’s Sonata in E Mi­nor open­ing the pro­gramme and Poulenc’s glo­ri­ous Sonata for Flute and Pi­ano which came to­wards the end.

Around these flautist Matthew Lee ar­ranged a fur­ther three pieces of real va­ri­ety, all of them adding up to a size­able and highly en­joy­able lis­ten for a lunchtime con­cert.

Ac­cord­ing to the pro­gramme notes, this con­cert formed part of Lee’s prepa­ra­tion for over­seas au­di­tions and I’d say he has as­sem­bled a good range of mu­sic in the pro­gramme to show off his skills, from the Baroque through to the con­tem­po­rary.

From the out­set Lee was to­tally in­volved in the mu­sic.

He moves with it and is un­afraid to show his mu­si­cal in­ten­tions phys­i­cally in or­der to en­hance what he is try­ing to achieve mu­si­cally.

His ren­di­tion of the Bach was most ex­pres­sive, ac­cen­tu­at­ing the in­ter­nal di­a­logues in the rather an­gu­lar phrases of the first move­ment while prov­ing quick and ag­ile in the sec­ond move­ment, where sneak­ing breaths in the in­ces­sant semi­qua­ver pas­sages was ex­pertly done.

Lee cre­ated a sense of calm in the third move­ment be­fore whip- ping up a storm in the fi­nal one.

To avoid on oc­ca­sion hur­ry­ing the de­tail in the lower reg­is­ter, I felt this could have been taken at a slightly less fre­netic pace.

Be­fore mov­ing on, I must con­grat­u­late pi­anist Me­lanie Lina on a splen­did job through­out. In the Bach her ac­com­pa­ni­ment was all

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