TRAINING COLLEGE CHORAL SOCIETY

Press, Volume LXXXIII, Issue 25309, 8 October 1947, Page 9

TRAINING COLLEGE CHORAL SOCIETY

An appreciative audience enjoyed a fine concert given by the Christchurch Teachers’ Training College Choral Society, conducted by Mr W. Trussell, in the Training College music room last night. The programme included seldom heard works by Gluck and Benjamin Dale. It opened with the first of Dyson’s “Three Songs of Praise.” The greater part of the first half of the concert was devoted to the presentation of various solos and choruses from Gluck’s “Iphigenia in Aulis,” the work in which Gluck ousted Rameau and Lully and revolutionised opera ofathe period. The soloists in this were Valerie Barton, Freda Boyce, and Philip Linyard. Both soloists and choir gave an able performance of this work, its dramatic qualities being fully realised. Special mention must be fnade of Philip Linyard, who sang with real artistry, and is to be congratulated upon his clear enunciation and a thoroughly musical performance. Gladys Vincent, Francis Bate, and Ernest Jenner played the Brahms Trio in C minor op. 101, one of the composer’s most powerful works. The four contrasted movements; the singing first movement with its effects of fine urgency, the presto which takes the place of the scherzo, the andante with clever alternations of rhythm, and the strongly rhythmic finale received at the hands of these players a noteworthy performahefe. There was a rarelyfound intimacy here that was completely satisfying. Maurice Larsen has a pleasant tenor voice of even quality. With good diction and a fine feeling for both words and music, he sang three Elizabethan lyrics, set by Roger Quilter —“Weep no More,” “Fain Would I Change that Note,” and “Brown is My Love.” The concert concluded with Benjamin Dale’s cantata, “Before the Paling of the Stars,” for choir, pianoforte, and violin obbligato. This is one of Dale’s earlier works, and was produced first at the Queen’s Hall in 1913, and later (at Hereford) for the Three Choirs’ Festival. The style is Roman-tic-suave and polished—and here the choir gave a really outstanding performance. Throughout the concert the choir sang with good tone, clear diction, and a spontaneity and responsiveness that were most refreshing. Mr Trussell conducted most ably and achieved unanimity from the forces under his control with a minimum of effort. The duties of accompanist were shared, and efficiently carried out by Joan O’Connor, Faye Werren, and Alison Edgar. —J.V.P.