ROYAL MUSICAL SOCIETY.

Press, Volume LXI, Issue 18487, 15 September 1925, Page 14

ROYAL MUSICAL SOCIETY.

I "CARACTACUS.'* Last night, at King Edward Barracks, | the Royal Christchurch Musical Society, under Mr Sidney Williamson's direction, presented Edward Elgar's cantata, "Caractacus," a work which, with the quickly-following '' Enigma Variations'' and the oratorio "The Dream of Gerontius," revealed the new star suddenly risen to world-wide fame. The cantata's subject-matter, already published, a happy blending of historical event, romance', and mysticism, has proved eminently congenial to the composer, the more so since it is alive with patriotic sentiment. In six scenes is the story unfolded. Perhaps the "Dream of Gerohtius" has claims to be appraised as the greater work, but it is tendentious and heavily charged with incense. In \ "Caractacus" 'Elgar's genius is most perceptible by his mastery of complex forms and the originality of his word-painting. Ho rarely repeats himself, unless it is to emphasise a previous theme. There is great beauty to be found in thy cantata, and magnificent climaxes occur repeatedly. The duet between Eigen and Orbin is a gem of loveliness, very fine the leaping basses to "Britain, my land, is saved," grand the scene "round the' sacred oak' tree," but surpassed .by iiie chorus, "Down hini, Apostate," the splendid "Lament," and the final chorus, "The Clang of Arms is Over," with a prophetic vision of an England to come,: mighty and glorious, ending in a great outburst of soaring chords. But these quotations touch Qnty the fringe-of an overpowering work. "If fault is to be found, it lies in a certain restlessness, that affects even the sylvan scenes, and heavy tone-masses are heaped up in too' great a proximity. .But, nevertheless, the manly figure of Caractacus, the charm of Eigen, the ardent Orbin, and, the sinister Arch-Druid stand out finely, symbolised, each in characteristic prominence. The complicated choral work had been prepared, with that thoroughness and 1 understanding . invariably associated wjth Mr Sidney Willamson 's name., The choruses, "Eest, Weary Monarch," "Through Fire and Smoke'," the scene descriptive of the ' battle, "The Lament," and "The Clang of Arms is Over," were ajl sung with truly admir-; able effect. But through the nnfavonr-; able acoustics of the Barracks orchestra and choir often lost touch with each other, a fatality which, with such, elaborate and fanciful instrumentation as Elgar's, seriously prejudiced tho resultant impression. It applied frequently even to the Although the. orchestra, led by Mr Sydney Smith, did their best, for so Tiuge a space their numbers were too limited, so that the tone at times almost disappeared. To Mrs Tait, nee Holdgate, was entrusted the sympathetic part of "Eigen," which she fully mastered, but again, particularly'in the duet with,

Orbin, too much strain was the voice, and often her lovsUestJgjyg were quickly neutralised by turab means. Mr Harold Preaoott, as Q|S§l sang conscientiously well and witillif requisite spirit. For the heroic pirlflfc "Caractacus," Mr Lcn. Barnes &>s&s, into action all' the manliness* fl&iSf* pression and' the vocal equipment stall? finest in the "Lament" to •fatf&| force. With a splendid deptV f ii| sonority of voice, Mr H*risoit b (sll. reached the highest point in effeeßli ''Go Forth, King"; he, ntttojiijß than the other soloists, missed ewlll with the orchestra. V\^P Tho truly inspired work seem&lp impress deeply an audience! thai ~J&$ have numbered more than 300 ft .jaj but one cannot help reflecting thtsli took 27 years in Teaching New flfrHllwT no excessive speed, bearing ifrmifefjßi it is written by the most composers. After a very good Pw/o'WnesiiaWp of the National Anthem, with mIsEM! as soloist, Mr W. J. Hunter,, tuV!pj||p dent of the Soeicty, >eqttesfo£fo<||jsj| ence to rise in menjory.of theMllßtf Albert Kaye, to whose are indebted for the introdaetiojQffigr cantata. '. \ 'ffigpt