Instrumental Evening At Primary Schools’ Festival

Press, Volume XCIX, Issue 29273, 3 August 1960, Page 15

Instrumental Evening At Primary Schools’ Festival

The primary schools’ festival concert last evening was devoted to instrumental music. Several hundred children combined to present a concert that was original in structure and stimulating in content.

The first half of the programme comprised a demonstration of the various stages of development which these young musicians go through on the way to the ranks of the Christchurch Youth Orchestra. We heard various types of recorders, melodicas, chime bars, guitars and autoharps, and something new, a plastoflute—a most effective instrument in its own right, as well as having ideal qualities as a teaching aid. The fact that it traces its origin to the hands of Mr Dewar, headmaster of one of the schools contributing to this concert, made the occasion more interesting. Then we heard a Standard 111 class from Sumner School play as an ensemble, and a 200-piece orchestra of elementary instruments followed, to make a good sound.

The same routine was adopted with the accepted orchestral instruments. Violins, violas, cellos (manned by two nine-year-olds) and basses were followed by a string group who gave a polished account of “Queen of Sheba,” which would have Inspired the younger aspirants of the group. The woodwind and brass groups were likewise displayed—and they provided several artistic surprises, not the least of which was a trio of 14-year-old girl clarinettists.

One of this year’s little miracles is the Christchurch South Intermediate School Orchestra. In January of this year, 45 of its 54 players had not touched an instrument—yet they produced a disciplined sound, rhythmically vital and well-balanced. Mr John Kline, who is shortly to return to California, will leave behind him not only grateful youngsters and their parents, but also an embarrassing challenge to our educational system. If this orchestra which he has created comes to nothing, after such a spectacular beginning, there is precious little hope for us. In the meantime, we record our thanks to Senator Fulbright. After the interval the magnitude of the scheme unfolded. Mr Robert Perks, the director of instrumental tuition, assisted by Mr Anthony Peek and Mr Stephen Delaney, presented the four orchestras which have so far resulted. Graded according to ability, and playing music suited to their needs. No. 4 Orchestra

sounded well in “Rosemary,” and No. 3 in three national melodies. There was fine tonal quality in the second orchestra’s playing of Keltic Lament. The more senior players, as the Christchurch Youth Orchestra, offered clear evidence of their ability in two Wagner excerpts, while Oscar Naylor’s “Three Irish Scenes” had all the qualities of a poised performance. It is a long time since such a sound has come from a large amateur group. But the climax was still to come! Mr Perks has established a reputation for executing, in the Civic Theatre, operations which are more fitted to the Drill'Hall or even Hagley Park. On this occasion, he ended the programme with an orchestra of 400 players. Undeterred by the fact that 10 rows of the stalls were taken up by recorders, first-year fiddlers and the like, he led this enormous band in what can only be described as a thrilling performance of a Gavotte by Woodhouse and his own Fantasia on a Czech folk tune.

In conception and execution, this concert owes almost everything to Mr Perks. His numerous assistants, teachers and the pupils themselves, while contributing to a success such as. this, would be foremost in acknowledging the immense burden he places on himself. In only one respect was this unnecessary—the concert was far too long, a factor which will be dealt with in future. If the Education Commission was not in attendance, more is the pity. If the protagonists for a Town Hall need further evidence, a post-mortem on this important concert will reveal all they require. —J.A.R.