Justin Whyte,
Entertainment Editor
Marilyn Brice-MacDonald in performance.
MARILYN BRICE-MACDONALD, mezzo soprano and, Donald Hossack, organist gave a recital in celebration of the 315th anniversary of Johann Sebastian Bach and George Frederic Handel, at the University Chapel, Mona, last Sunday evening.
The concert was not only a celebration, but also a fundraiser for St. Simon's Basic School, which is sponsored by St. Luke's Anglican Church, Cross Roads. It attracted people from the music fraternity - groups, studios, bands and choirs.
The concert began with Mr. Hossack playing Bach's Toccata and Fugue in D minor.
This work was created by Bach to leave us in awe on hearing it. And, according to Charles O'Connell in his Victor Book of Symphony: "It arouses not sentiment but wonder." The piece blazes with brilliance in every measure.
The prime medium of Bach's poetry was the organ. His imagery rooted in the keyboard and pedals and his inspiration to its majestic sonorities.
A fugue is a contrapuntal composition in which the theme or subject of strongly marked character pervades the entire fabric, entering on occasion in one voice and sometimes in another, based on the principle of imitation.
In this particular piece Mr. Hossack was quite explicit in his use of organ specifications, to achieve his intended objectives. However, the subject was not manipulated as a pure musical material. Although he employed obvious strettoic devices, the entering of voices appeared weak, not dynamic enough, especially pedal entries. Towards the end of the work, there was lacking that heightening of tension, which brought the fugue to its characteristic thrilling climax.
Mr. Hossack also played, Fantasia in G Major by J. S. Bach. This was indeed his high point for the evening. Although, it was not majestically played and without the accompanying grandeur at the end. It is a powerful composition.
In this piece form takes second place in deference to the demands of imagination or mere wilfulness. A fantasia, according to musical rules, must be performed by the artiste as though, himself composed the work. Mr. Hossack in this piece made great attempt to please his audience. It is therefore, of small wonder that everyone burst in a thunderous applause at the end.
Handel's Gods All Powerful was Mrs. MacDonald's opening choice, followed by Sleep Why Dost Thou Leave Me and ending the first group of three songs with the ever popular, Where'er You Walk.
The selections were satisfactorily handled. However, in especially the last of the three, piano accompaniment would have added another dimension.
Mrs. MacDonald's rendition of Art Thou Troubled from Hamdel's Solomon was fantastic. She breathed new life into the work and was rewarded with loud applause. Bel Piacere, by Handel was also appealing. Although, tempo was not maintained throughout.
O Had I Jubal's Lyre from Joshua, by Handel, was given an interesting reading. However, problems in breathing and phrasing were encountered during the singing of melismatic lines. This piece indeed, drew out the dramatic and imaginative talents of Mrs. MacDonald.
The concert was guided by David Reid, tenor.
Contributed
