Liederkranzchen Concert

Press, Volume CVIII, Issue 31785, 16 September 1968, Page 16

Liederkranzchen Concert

There was a fairly large attendance at the concert given by the Christchurch Liederkranzchen, conducted by Mr Geoffrey Thorpe, in the University Hall on Saturday evening. The choir sang works by Brahms, Rowley, Brent-Smith, and Michael Head. Intonation was insecure at times in two motets by Brahms at the beginning of the concert and the tone was rather forced. Ross Mayhew was soloist with the choir in “Awake. Awake!” His singing was of high order, and he should be sought as a soloist at concerts here, for he certainly knows what he is doing. His tenor voice has an impressive range and power, and is always clear and unforced in production.

There is an enlivening vibrancy in it, giving colour and light to bright music, such as Handel’s “Sound an Alarm” which he sang with style and with elan; his more quiet and lyrical singing is also most pleasing and he sang “The Green Cornfield” and “Sweet Chance that Led My Steps Abroad” by Michael Head, with beautiful control and phrasing shaded with subtle use of nuance.

The choir sang three English lyrics by Alec Rowley with confidence, good balance, and appreciation of their atmosphere. Careful light and shade, and freshness of tone were used in “Five Paradise Songs” by Alexander BrentSmith. The programme ended with “Snowbirds,” a cantata by Michael Head set to words by Sri Ananda Acharya. This was charming music sensitively and sincerely performed. Ngaire Johnston, Beryl Cough &nd Madeline Hanafin were effective soloists who entered into the spirit of the poems and of the music with understanding. Mr Thorpe conducted with good regard for rhythm, phrasing and expression and his directions were aimed at shapely performances.

Generally speaking there is too much vibrato in some voices in this choir. This militates against complete clarity of melodic line and of words and is most noticeable when power is used. In this resonant hall there were times when softer levels could have been more advantageously used. Ellen Doyle played cello solos, accompanied with sensitive skill by Wallace Woodley. “Five Pieces en Concert” by Couperin were played with broad and expressive tone, and with vital rhythm and phrasing. Her Interpretations showed excellent appreciation

of style. Most attractive tone and appropriate arid artistic expression was used in “Elegie” by Faure, and the same composer’s “Berceuse” was played with delicacy. Mavis Best accompanied Mr Mayhew’s singing with flexible and clear shaping of the music, and Miss Barbara Collins played the accompaniments for the choir with artistic finesse. —C. F. B.