The Chron­i­cle

Chronicle (Zimbabwe) - - National News -

BU­L­AWAYO, Fri­day, Septem­ber 23, 1966 — Youth, vigour and orig­i­nal­ity were the out­stand­ing fea­tures at the Bu­l­awayo Mu­sic Club’s first con­cert un­der its new com­mit­tee last night. Bev­erly Bower’s vi­olin play­ing can al­ways be re­lied upon for its clear mu­si­cian­ship and the search­ing pro­gramme that was un­der­taken pro­vided scope for a dis­play that more than sat­is­fied ex­pec­ta­tions.

David Gold­smith’s ac­com­plished — if at times, a lit­tle in­co­her­ent — con­tri­bu­tion from the pi­ano key­board added lus­tre to the whole and es­tab­lished a joint per­for­mance of no mean stan­dard.

The Ce­sar Franck Sonata re­quires more than usual rap­port be­tween the artistes and there are times when one feels it could be aptly called a sonata for pi­ano and vi­olin if, in­deed any slight pri­or­ity is im­plied by the or­der of prece­dence!

It is, per­haps, no ac­ci­dent that David Goldmith’s own sonata demon­strates the same pro­to­col, for it is hard for a com­poser who is pri­mar­ily a key­board ex­e­cu­tant’s to re­sist this temp­ta­tion. How­ever cu­ri­ous a com­ment it may be upon con­tem­po­rary artis­tic trends it comes like a breath of fresh air to find a young com­poser who feels that tonal ter­ri­tory has still to be fully ex­plored.

In the Sonati­nao and in the de­light­ful group of short pi­ano pieces Gold­smith shows a har­monic con­ser­vatism while dis­play­ing an ap­pre­ci­a­tion and a skil­ful han­dling of pi­anists pos­si­bil­i­ties that must surely place him well up the lad­der of se­ri­ous com­posers in the sub-con­ti­nent.

If the two pieces whose names sug­gest in­dige­nous in­spi­ra­tion smell more of South­ern Europe than of Africa, this is a mat­ter of ge­og­ra­phy that time and the grow­ing as­so­ci­a­tion will cor­rect. The au­di­ence was the largest that has been seen by the Club for a long time.

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