CHORAL SOCIETY.

Auckland Star, Volume XXXII, Issue 206, 11 September 1901, Page 2

CHORAL SOCIETY.

Last evening at tbe Choral Hall, before, an appreciative audience, the Choral Society gave their usual orchestral concert. The programme Was an attractive one, and contained works of a classical and secular nature. The performance commenced with Rossini's charming and melodious overture "Italiana in Algieri," which was one of the best selections of the evening. In their opening movement, the violins were generally true in pitch, and their soft pizzicato playing was very effective. The clarionettes and oboe produced a nice quality of sound, but the intonation of the flute was not always reliable. The crescendos were pleasing, and the sfozandos were well marked and emphatic. The great Bonn composer, Beethoven, was represented by his three last movements from the Symphony No. 1 in C. Major op. 21. The date of this first symphony has not been definitely established, As early as 1795 sketches of its Finale were found, though the work was not performed until April, 1800, at a concert in Vienna, conducted by the composer. Of a charming character is the music of this fine tone poem. The andante is characteristic of the writer and the minuet is one of Beethoven's most serious attempts to impress his individuality upon a form which had been so strongly defined by his predecessors. Although it is called a minuet, it is really a scherzo. Its tonal design appears to be nothing but the scftle of O major, worked out in a manner peculiar to the master. The second part of the minuet is remarkable for its modulation. The trio is simply expressed, mainly by the wind and strings, and a thorough mastery of orchestral resource is exhibited throughout the "allegro motto vivace." The composition is not without intricacies and occasional discords, yet all is clear" and definite, and pleasing to the listener. It received on the whole a praiseworthy reading.- In the andante the strings were commendable, with the exception of a little false intonation where the violas and 'cellos answer in canon. The timpani was good throughout, and was specially effective in the last eight measures of the first part, in the rhythmical phrase which accompanies a triplet figure played by the violins. The second portion was delicately performed, and the dynamic coritrasfts at its close exhibited a reverent regard for. the spirit and intention of th«| composer. The minuet received a sprightly delivery » the tempo was well marked, and the syncopated passages were carefully expressed. In the few bars of adagio leading into the ajlegro motto vivace, the violins in the demisemiquavers were not together, nor Were they always successful in the scale rttns of the allegro. In the latter the tempo was fairly good, and the brass executants were heard to advantage. Cowan's "Rustic Dance" received a graceful rendering, and it gave the wood wind band and horn performer a chance for display, which they took every advantage of. Godard's exquisitely scored "Sur la Montague" was effectively phrased. The pizzicato string accompaniment to the delightful playing of the wood wind was very pleasing, and this number would have been the tnost enjoyed had the strings not been at variance at the close. There was want of firmness in the performance of Aubert's "Fra Diavolo" overture. The violins played irresolutely, and the flautist Was not certain of his musi.e. The pianissimo was good, and the roll of the drums was praiseworthy, while the finale was vigorously worked to a conclusion. Cowan's "Country Dance," from his orchestral suite, was interpreted as though it was a funeral hymn, and dragged very much. The attack and release were not always decided enough, and the strings were not always true in pitch. Elgar's choral suite from the "Bavarian Highlands " was the last orchestral piece, and it terminated the concert. Mrs J. W. Stewart sang tastefully Gounod's "Serenade," but her singing of the arpeggios and following semiquavers at the close of the verses was not always correct. As an encore she gave "Logic o' Buchan." She was also heard in Blumenthal's "Love the Pilgrim." Dr. Thomas effectively accompanied Mrs Stewart on- the organ. Cherry's song "Will o' the T'sp" was creditably rendered by Mr V. Manning. He also essayed the recitative "I Feel the Deity Within," and "Arm, Arm, Ye Brave," from Handel's "Judas Maccabaeus," with orchestral accompaniment; but his voice is hardly IpOwercul enough or dramatic in style to do the solo the justice the music demands. The orchestral pieces were firmly conducted by Dr. Thomas. Dr. Cox (in the absence of the leader of the orchestra, M. E. J. de Willimoff), led the band, and Mr R. J. Yates officiated as principal of the second violins. Coleridge Taylor's "Hiawatha" Is to be performed on Tuesday evening, October Ist.