Bermuda Festival -- Marisa Robles -- City Hall -- February 2 On Thursday night Spanish harpist Marisa Robles entertained an enraptured Festival audience not only with her superb playing, but also with the warmth of her delightful personality.

Her programme began with music from the Baroque period; two Preludes from `The Forty Eight Preludes and Fugues' by Bach, and an arrangement by Miss Robles of two movements from Handel's Harp Concerto in B flat.

From the outset, Marisa Robles established herself as a powerful musical force combining a virtuosic technique with integrity and style, and from the outset, the audience loved her.

An elegant set of variations by Mozart followed, and Sonata No. 6 in D major by the obscure French harpist Francois Naderman. Born in 1773, Naderman wrote for the harp with and without other instruments: concertos, quartets, trios, duets, sonatas and solos. His Sonata in D was pleasant enough but a bit bland, and it certainly suffered from following Mozart -- but then, who wouldn't? One of the hallmarks of this year's Festival so far has been the almost complete absence of programme notes. Given the esoteric nature of this recital for solo harp, and the proliferation of lesser known composers, it was fortunate that Marisa Robles was so forthcoming with information.

In her verbal introduction to `La Source' by Alphonse Hasselman with which she ended the first part of her recital, she enthusiastically recalled winning an important national competition when she was only nine years old. Her concert piece had, on that occasion, also been `The Source', an impressive offering from one so young, and her incentive had been the first prize -- a bicycle which she had seen tantalisingly displayed in a shop window. Against great odds, for she was one of the youngest competitors and she hated to practise, she was awarded first place. About to depart triumphantly with the coveted prize, she was informed by her proud parents and teacher that it would be too dangerous for a concert harpist to cycle, and the bike was promptly re-routed to her cousin..."And I still don't like that cousin,'' she concluded.

After the intermission we heard `Three Basque Melodies' by the Spanish composer, Jesus Guridi. For much of the twentieth century until his death in 1961, Guridi exercised a great influence on musical life in northern Spain, bringing to the attention of the musical world, the immense wealth of Basque folk songs and folk dances. Certainly in `Three Basque Melodies' this influence was particularly evident in the rhythmic `Cancion del Herrero' and in the melancholy beauty of `Elegia'.

One of the highlights of the evening was a composition by Marisa Robles called `The World of Narnia'. Drawn from the allegorical tales of C.S. Lewis of which the most famous is `The Lion, The Witch and The Wardrobe', these pieces reflect the characters and ethos of the magical world of Narnia. It is a truly lovely composition with hauntingly beautiful thematic material and some nicely placed piquant humour.

Spanish composers were highlighted in this programme, of course, and in the transcription of the piano piece `Rumores de la Caleta' by Albeniz, one felt the rhythmic vitality of traditional dance and the passion of old Spain.

The recital ended with two pieces by the Franco-Spanish harpist Carlos Leon Salzedo. Almost all of Salzedo's works were written to exploit the properties of his instrument and `La Desirade' and `Cancion en la Noche' brought the evening to a stunning conclusion.

There is still a chance to hear this remarkable artist when she repeats this programme tomorrow evening, Tuesday, February 7. It should not be missed.

MARJORIE PETTIT