Liedertafel Begins Eightieth Year Well

Press, Volume CIV, Issue 30737, 29 April 1965, Page 20

Liedertafel Begins Eightieth Year Well

The Christchurch Liedertafel was “at home” to subscribers and friends in the Caledonian Hall last evening at its first concert of this season which begins the e ; ”htieth year of the society’s life.

The concert began with Sullivan’s “Long Day Closes,” sung in memory of Messrs Hugh Cocks and Stanley Foster. late members of the choir.

There was a large audience which enjoyed a well-chosen programme. Two choruses from Handel’s “Judas Maccabeus” began the evening’s entertainment and found the choir in good voice, producing a rich and rounded tone, unforced but of resonant vitality. The phrasing and the clarity of the words showed careful preparation and thoughtful care for detail in performance. “Marching Song” by Matyas Seiber had attractive rhythmic drive, and was sung with mellow timbre. Hugh Robertson’s setting of Chesterton’s fine poem “The Donkey” was given its first performance. It was rather a pity, for there is little excuse for adding such banal music to the Liedertafel’s repertoire.

A Swedish part-song and an arrangement by Mr Keith Newson for male voices of Brahms’s “Love Fare Thee Well” were sung with responsive expression and beautiful blending of voices. Stanford’s excellent set of “Songs of the Sea,” with Mr Jack Mason as soloist, were performed with rousing spirit and well-creat-ed atmosphere. Mr Mason can always be relied upon for artistic interpretation, and the choir knows these songs thoroughly. Among so many good points the clarity of the words was outstanding. Good Phrasing

Robert Allison sang “It Was Thou the Destro.er,” from “The Masked Ball” by Verdi, with dramatic fire. His legato phrasing was most commendable.

The guest soloist was Heather Taylor who was accompanied by Maurice Till in a stylish performance of five songs by Brahms. In tonal variety, in delicacy of phrasing and in keeping carefully poised poetic sympathy and insights both artists were heard to great advantage. The second part of the programme was lighter in charac-

ter with well-shaped performances of Warlock’s “Milkmaids,” and Hurlstone’s “The Derby Ram” leading the van in light-hearted style. “The Bees,” by Percy Fletcher, “the Shadow March,” by Protheroe, and the humorous serenade. “O Maiden Tell,” by Haydn all found acceptance as old favourites by the audience. Mr Keith Newson conducted the choir with his customary finesse and regard for detail, giving life and buoyancy to each interpretation and keeping praiseworthy balance of power and tonal blending. Heather Taylor sang “My Soul’s Delight,” by Donizetti, and “Juliet’s Waltz Song” with delighting freshness of tone and coloratura agility. They were most successful performances of very high standard indeed. Mr Till seemed to obtain orchestral texture from the piano in magical fashion. Mr R. T. Hunt sang Wagner’s “O Star of Eve” and two Welsh folk songs—“ Elegy of Ivor of Keri” and that magnificent air “David of the White Rock.” He produced legato singing but was inclined to rely too much on halfvoice singing in soft work. Mr Herbert Filer was an efficient, helpful and artistic accompanist. —C.F.B.