ROYAL MUSICAL SOCIETY

Press, Volume LXXIII, Issue 22274, 13 December 1937, Page 3

ROYAL MUSICAL SOCIETY

JUNIOR CHOIR CONCRET The junior choir of the Royal Musical Society, under the conductorship of Mr A. G. Thompson, gave its last concert of the season in the Radiant Hall on Saturday night. The entertainment .was enjoyable and interesting, more on account of the unique character of the choir, the excellent finish of performance, and freshness of tone, rather than from the character of the works chosen. There was a sameness about many of the unison and two-part songs, identical chromatic cliches being noticeable in several. The standard was excellent and praiseworthy throughout, and the inclusion of a few of the many splendid works which are available and suitable for such a choir would have given the programme some highlights. It should be the policy of every musical society to include on its programme at least one work, preferably a new one," of outstanding interest, and to group its minor works round this larger one to make good balance. Both the Harmonic Society and the Royal Musical Society do this, and do it well. The Junior Choir could do the same, for in points of ease of singing, careful grading of tone, attack, precision, and rhythm, they have just as high a standard.

Schubert’s “The Fisherman” was sung with good intonation and understanding. Dr. Markham Lee’s twopart song. “A Summer Impromptu,” was fresh and enjoyable, and the soft tone of the choir in “A Shepherd’s Lullaby” was most pleasing. A vigorous number, “Blow, Wind, Blow,” by Challinor, and “Over Hill, Over Dale,” by Dicks, were delightful, and were the best items in the second half of the programme. Other numbers by the choir were Barnby’s “Swfiet and Low,” “Possessions,” and “A Wish,” by Winn and Tansley. Sir Hubert Parry’s fine song, “England,” would have been improved if it had been taken at a faster tempo. The traditional air. “Ye Gentlemen of England,” was sung by the boy members of the choir, with David Hannah singing a descant. This was an enjoyable number, and the boys sang well, with nicely produced tone and clear enunciation. Margot Dallison, Claire Simpson, and Heather Melville sang two trios, “How Beautiful is Night” and “Slumber Sea.” Their voices blended beautifully, and they sang with intelligence and natural rhythm. June Smith played the first nrnvement of Violti’s Concerto in E minor for the violin. She played remarkably well, with vigorous bowing, and, on the whole, good intonation. Geoffrey Hill, a member of the choir, sang “Rose Softly Blooming.” by Spohr, with clear tone and a good sense of the restraint that the song needs. His encore number _ was “When Daisies Pied,” and in this his easily produced top notes were very pleasing. Suzanne Dallison played three piano solos, “Rhapsodic Mignonne,” by Koelling. “To the Spring,” by Grieg, and a Prelude by Ghere. She produced good tone, and has an effortless style of playing. The Grieg number was, perhaps, a shade too fast, but in that and in the prelude her work was most enjoyable. _ pie first number had little musical interest, but she played it well. Shirley Pearson recited Kitty at the Concert” and “At the Pictures.” The numbers were funny, and she did not lose the character of her part for a moment. It was an excellent piece of acting. ~ Great credit is due to Mr Thompson for the work he is doing with these young people, and the Royal Musical Society is lucky to have such a large body of young voices to fill vacancies in the senior choir in the future, ror these children are being trained properly. Their breathing is natural and correct, and their intonation splendid. They are learning to follow a conductor’s beat—the only inattention noticeable came from a few of the senior girls, the juniors being delightfully mindful of their stage manners. All this experience is invaluable, and apart from the exceedingly high standard of work that he is producing at present, Mr Thompson s work is of inestimable? value to the musical future of the city. _ c F B