MUSICAL UNION CONCERT.

Press, Volume XLVIII, Issue 14475, 2 October 1912, Page 10

MUSICAL UNION CONCERT.

Another miscellaneous programme devised for last night's,concert brought a repetition on tho part of tlie orchestra of tho bright and light, in places too light, music from "The Tales of Hoffmann," and tho clever, tuneful overture to the "Roi D'Yvetot," by that fine French master Adam, whose gift of invention, and dainty, effective instrumentation may well be admired, even in these days of extraordinary orchestral doings. The Union orchestra seemed less confident in the Offenbach potpourri than at the first production, but cornets and 'cellos did well in their passages of prominence. The overture showed a light touch and good work, and a lucid interpretation except for one critical moment. The choir again was unevenly balanced as far as the male voices were concerned, who have fallen off in numbers and., suffer, in addition, from the unfavourable position they are compelled to occupy on the stage. The interesting and really, finely conceived "Last Post," Stanford's patriotic composition, _. founded upon a well-known bugle-cafl theme, smartly played by Mr Fox, appeared yet,' in part, too persistently massive in character and correspondingly in execution. BlumenthaPs "Shadow" was doubtless the best choral production of tho evening, introducing good variations and blending of tone. We acknowledge gratefully, as a first instalment, the "Chorus of Houris," from Sclluniann'a "Paradise and the Peri," adapted from Thomas Moore's "Lalla RooKh," a very beautiful cantata that should long have figured on the programmes of the Union. Mr W. S. King's clear-sighted and energetic direction, especially of the instrumental numbers, is to.bo deservedly recorded. A pleasing feature of the evening was the melodious trio for flute, oboe, and clarinet,, with orchestral accompaniment, "Dreigesprach," Messrs F. Bullock, G. H. Bonnington, and D. Sinclair all appearing as determined rivals in making the most of their solo and concerted parts; the flute now and then somewhat precipitate, tho oboe a little stiff iv phrasing, all three on the whole very good.. But it was in the lovely "Adagio" from Mozart's Clarinet Concerto that the clarinetist, Mr D. Sinclair, excelled; beauty of tone, though in volume occasionally unduly forced, facility and finish in the florid work, taste and feeling in interpretation, call for equally favourable comment. More of this typo of music is always welcome, priate and praiseworthy sentiment the Adagio, and with an easy and good technique, if somewhat soberly, the Rondo from the Ninth Concerto by do Beriot. and the vivacious style in which Ethel Barnes's "Humoresque" and the "Chanson Valsa" by Poussard were performed found warm appreciation. Far above the merit of his first public appearance stood Mr L. C. Barnes's contributions last night. A more judicious selection of sonus had been made, though still we could not be spared the dismal "Wraith," by Schubert He displayed a fine spirit in Handel s "Honour and Arms," as well as in Sullivan's song, "I Would I Were a King " and the declamation of Amy Woodforde-Finden's "Where the Abana Flows" should be specially commended, the final consonants only being at times indistinct, which, however, is a common fault A greater oreadth of tone it would also be desirable for him to cultivate. And, finally, tlie efficient and faithful services of Miss Rima lo"ng as accompanist must not be overlooked. 'The large audience was lavish in its tokens of appreciation and persistent recalls That also is a common fault.