"THE RIVER."

Auckland Star, Volume LXVIII, Issue 263, 5 November 1937, Page 16

"THE RIVER."

DORIAN CHOIR CONCERT. MOST ENJOYABLE PROGRAMME. The Dorian Choir s 1037 season was brought to a successful close in the Town Hall Concert Chamber last evening, when an exceptionally interesting programme was presented to a large and keenly appreciative audience. The main feature of the evening was Alec Rowley's tine setting of Arthur Salmon* descriptive poem "The River," a setting in which the coruponer, by clever modulations and variations in rhythm, has musically depicted the changing moods of the stream as it placidly swirls from its source through the countryside, until eventually it feels the pulse ot' the ocean — a melodious wedding of verse and music. This was given a most expressive and satisfying performance, noteworthy for good taste, tone and artistic restraint. The spoken interludes in this were delivered by Air. Alan McSkimming with clarity and pleasing tonal quality. Next in order of merit, perhaps, was Mendelssohn's lovely motet. "Hear My Prayer." in which Miss Owenda Weirsang the solo with great sympathetic expression, the lyric quality of her voice being eminently suitable to the work, while the clarity and effortless ease of her enunciation was a delight to hear. The choir provided an artistic background. Other choral numl>ers were: "When Winds Breathe Soft" (Samuel Webbe). a charming performance; "Crucifixus," from Bach s B Minor Mass. sung by the ladies of the choir with taste and good tone: "(rod Is Our Hope and Strength." an arrangement of Bach's Fugue in E Major for mixed choir and piano, bv Greville Cooke, well sung and worked up to a telling climax: "I See Hi.s Blow! I "on the Rose'* (Benjamin), in which the solns were well token bv Constance Piner Leslie Russell: Vaivhan Williams' " Never Love Thee More," another excellent performance. These performances were marked throughout bv refined tone. c!"ar diction, artistic restaint. and even balance of voice*, while the singers were kernlv responsive to th/» clearlv-oxnrejwie'-l indications of the conductor. Mr. Albert Bryant, whose interpretations were always in excellent taste.

In addition to the choral numbers two trios were given. The "Euterpe Trio" fPatricia McLeod coloratura ' soprano. Frank Poore flautist and Alan Pow pianist) made its first appearance at these concerts, orienting a bracket of two songs. "Magdalen at Mich-el's Gate" 'Lehmann) and Alalveff's "The Russian Nightingale." also, ps a recall nnnil>er. Gounod's "Serenade." MUs McLeod sang these numbers very prettily, her performances. however, were marred somewhat bv indistinct diction and occasional deviations from pitch. Tb" balance of the combination was not alwavs even, and was best when the_flute played from off stage.

The second trio was provided by Robert Simmers (bass), .Tnlie Williams (soprano) and Leslie Russell <tenor), who presented the "Prison Scene" trio from Gounod's "Faust" with considerable dramatic expression.

Not the least pleasing feature of the evening was mtisieanlv work by Mrn. Red. Reed at the piano, notahlv in the Prelude to the Bach Fugue, and also in the various accompaniments, which were played with sympathetic insight.