clarinet; Martha Locker, piano.

Bermudian Mark Lomas is no stranger to local audiences, and Sunday's recital with pianist Martha Locker should certain ensure a demand for further performance from him in the future.

After an expressive and moving account of the introductory work `Three Fantasy Pieces' by Schumann, the duo - both students at the prestigious Juilliard School of Music - launched into `Sonata for Clarinet and Piano' by Poulenc.

Written in 1962 a few months before the composer's death, this piece is a favourite in the solo clarinet repertoire. Unlike some twentieth century composers, Poulenc refused to abandon essential melody, and his music abounds in pulsating rhythmic energy. With playing poised throughout and the Allegro Con Fuoco taken at an exhilarating tempo, this work was a triumph for both young performers.

The chamber choir `The Word' directed by Lloyd Matthew provided an enjoyable contrast with some well delivered part songs, a robust opening flourish `O Sing Your Songs' by Noble Cain, and a lyrical group by Randall Thompson, `Frostiana', `The Pasture' and `Choose Something Like a Star'.

Particularly effective were the energetic spirituals `I'm Gonna Sing To The Spirit', and `Elijah Rock'. In `Fix Me, Jesus' with soloist Donna Belton, there was good vocal blend and as throughout the performance, a well defined dynamic range. Responding to Mr. Matthew's vital conducting the choir sang with conviction and an infectious sense of enjoyment. They were accompanied by Dion Flash who also proved himself a very able soloist in Chopin's brilliant velocity study in F major Opus 10 Number 8.

The music of composer Carlos Guastirino is redolent with the exotic flavours of South America. His `Sonata for clarinet and Piano' composed in 1970 proved a perfect vehicle for the very physical presentation which one has come to expect from Mark Lomas. At one with the music whatever the style, he is seldom still, Yet never does he allow anything to interfere with his musical integrity or his focus on what makes music -- quality of sound. His tone quality is throughout an exciting range of dynamics simply beautiful.

Nothing is compromised. He is a born performer. Stylishly accompanied by Martha Locker he brought Guastirino's Brazilian rhythms to life in a vivid tapestry of colour.

In the nineteenth century, the clarinet was second in popularity only the piano as a solo instrument. Given the prevailing climate of musical fireworks, sometimes content was sacrificed for virtuosic display -- but then virtuosic display can be fun! Transcriptions became popular, and it was one of these with which Mr. Lomas chose to end his programme. `Fantasy for Clarinet and Piano' based on themes from Belini's opera `I Puritani' played with assured bravura brought this excellent recital to a dazzling conclusion.

-- Marjorie Pettit