Pembroke, February 18 and 19.

Wayne Marshall and Mladen Janjanin met as students at The Royal College of Music, London, in 1979. Since that time they have developed a musical interest in `four hands' piano repertoire, appearing extensively in Mr. Janjanin's native Yugoslavia, and in Great Britain.

Their recital on Friday night was a tour de force of brilliant technique and dynamic musical energy. Seldom has Bermuda heard organ playing of such virtuosity and unrelenting excitement, the piano's added dimension enhancing the varied programme of well contrasted 19th and 20th century repertoire.

The programme began with a performance by Wayne Marshall of Liszt's Prelude and Fugue on BACH.

A virtuoso pianist, Franz Liszt was lionised throughout Europe as a performer of the same stature as the legendary violinist Paganini. It is as a composer of piano music that Liszt is best known, of course, but he did write about a dozen works for the organ of which the Prelude and Fugue on BACH, and the Great Fantasia and Fugue on a Chorale Theme from Meyerbeer's `Le Prophete', also included in this programme, are the two most important.

The Prelude and Fugue was a dramatic introduction to the evening and, prefixed by some introductory remarks by a relaxed and enthusiastic Mr. Marshall, an immediate and pleasant rapport between audience and performer was instantly established.

Not all performers are willing or able to communicate verbally with the auditorium and on many occasions one has been left perplexed by the playing of an unidentified and obscure encore...an unhappy mystery for at least the reviewers present. Fortunately, Wayne Marshall offered no such limitations and his comments throughout the evening were of great benefit to everyone.

After the introductory Liszt, Mr. Marshall was joined by Mladen Janjanin for a performance of Variations Sur Deux Themes by Marcel Dupre.

A prodigy from the outset, Dupre set the seal on his reputation by playing from memory in a series of ten recitals at the Paris Conservatory, the complete organ works of J.S. Bach.

For the players, the keyboard music of Dupre is difficult to play, and for the listener, while the basis of his harmonic style is tonal, dissonances are often pushed to extreme limits.

In these Variations, the organ was careful not to overshadow the piano at any time. From the outset of the staccato piano introduction and the legato answer on the organ, we were aware of a careful blend of dynamics and phrasing at all times. Both musicians played with panache and great rhythmic impetus throughout.

The first part of the programme ended with an organ solo, `Le Tombeau de Marcel Dupre' by Gerald Hendrie. This was basically a breathtaking Prelude leading to a jazzy Fugue which was much enjoyed by the appreciative audience, a contemporary work with instant appeal.

After the intermission the two performers once again joined forces for the Concerto for Piano and Organ Opus 74 by the Belgian composer, Flor Peeters.

In the traditional three movement form this is a spirited work of great rhythmic vitality. After the opening Allegro the second movement, a gentle Arioso, gave way to the last movement's fiery tarantella.

One was constantly aware how much these young musicians enjoyed performing, and how much they enjoyed performing together. They are a superb duo.

This excellent recital ended, as it had begun, with a dazzling display of virtuosity from Mr. Marshall in a work by Franz Liszt. The Fantasie and Fugue on the Chorale Ad Nos, ad Salutarem Undam.

Hopefully, both these fine musicians will return to the Island many times in the future. Theirs was certainly an outstanding contribution to Bermuda's Festival 1994.

MARJORIE PETTIT.