CHORAL MUSIC RECITAL

Press, Volume XCII, Issue 27782, 6 October 1955, Page 7

CHORAL MUSIC RECITAL

Townswomen’s Guilds

Combine'

VARIED PROGRAMME PRESENTED

An unexpectedly large number of beautiful singing voices in an organisation which does not exist primarily for music was the most pleasant feature of the second choral festival of the Christchurch Area Federation of Townswomen’s Guilds last evening in these groups, with a wide age range, it might seem difficult to achieve a happy balance, but surprisingly enough it was the grey-haired members who produced both the sweetest and richest tone.

These choirs have been trained by their own conductors and accompanists without specialist assistance, and they scored a common success in their clarity of ■ diction. Not a word was :ost, even at the back of the hall. Inevitably each had its best number, and in these they were evenly matched.

The common feature for improvement was in selection of songs. New choirs should choose straight music. Where it was sung last evening, it was enjoyed more by the audience of 200 and the choirs. Unnecessarily complicated • arrangements added nothing to the programme, and probably took time in practice which might have been devoted to final polishing of the folk-style music offered or attempts on the big range of new material now becoming available for amateurs.

A bracket of works by Schubert and Schumann presented by the Somerfield choir set a good level for the festival. The alto section had rich tone, and the others were uneasy only m the higher register. Excessive accentuation made the only break in (lowing performance. The sense of musicianship was marked. The widest variety in style of songs was given by Riccarton. It showed versatility, but the lovely rendering of “The Apple Woman.’’ immediately before an involved arrangement of “Silent Worship,” threw into bold relief the question of what is best for amateurs. This choir showed the tine timbre to be found in older women’s voices. Beckenham had nice balance, but a few scratchy treble notes, which might have been unnoticed except for a risky unaccompanied spiritual. The other songs were modern and eminently suitable, and the choir gave a rollicking performance of “The Jolly Gentlemen.” It was the type of music which appeals most to such groups, and is done best.

With the advantage of more uniformity of age, the Linwood choir blended excellently, especially in Evelyn Wales’s “Hunting Song.’’ This was a popular choice; so was “Spring’s Return.” with which the programme ended. If Linwood holds its present members it should develop into a fine combination.

Mr Lloyd G. Peacn. music tutor in the adult education department of Canterbury ■ University College, was guest conductor for massed choir items. Afterwards he gave a brief commentary. There were 12 guilds in the area. Where were the choirs of the others? he asked. He warned against difficulties of singing pieces in sharpy and flat keys in immediate conjunction, and against the vibrato arising from trying too hard. The occasional choice of works of old masters not written for voices was unfair to a choir and its conductor, Mr Peach said. He congratulated the federation for bringing out singers who might otherwise not have these opportunities. Flute solos were given by John White: and Margaret Nielson and William Hawkey played Spanish dances as piano duets.