Subscription Concert By Musical Society

Press, Volume CX, Issue 32359, 27 July 1970, Page 12

Subscription Concert By Musical Society

The Royal Christchurch Musical Society gave a subscription concert in the Civic Theatre on Saturday evening. “A Gloria in Excelsis,” by Vivaldi, was conducted by Mr Geoffrey Thorpe who has been chorus master for the society while Mr Field-Dodgson has been abroad. It seemed unnecessary to include a work taken from the text of the Mass when the full setting was to be sung later in the evening. This setting of the Gloria breaks the work up into sections which never seemed long enough for much to happen. Rather too long breaks between the sections prevented the work from having continuing unity, and generally the performance lacked vitality and conviction although there were parts of it that were attractive. The last chorus had more contrapuntal texture than the others had and was sung with forward-moving drive. The soloists were Stephanie Morton, soprano, and June McWilliam, contralto. Their voices blended well in duet work and their solos were sung clearly and with shapely phrasing. The Civic Orchestra, led by Mr Louis Yffer, had livelier music than was allotted to the choir and, except for one or two uncertain spots, played well.

Mr Field-Dodgson then conducted an excellent rendering of Mozart’s Ave Verum, The choir produced well-balanced tone of good quality and sang with expressive feeling. An unaccompanied setting by Dr Jean Berger of “O Clap Your Hands” was sung with

virtuosity and with merry eclat. The writing had something of a Negro spiritual basis with its rhythmic freedom and snap, and with very fast repetition of words. The choir handled it extremely well, singing with vivacity, bright tone, rapid changes of colour and expression, and with clarity of words at high speed. The main work of the evening was Beethoven’s Mass in C major, Op. 86. The conductor, the quartet of soloists— Stephanie Norton, June MeWilliam, Ross Mayhew, and Walter Robinson—the choir and the orchestra, are all to be congratulated on a most pleasing and highly efficient performance. Mr Field-Dodg-son chose the right tempi and tonal levels, so that there was heightened interest, telling contrasts, dramatic climaxes, and a satisfying unity throughout the whole course of the work. Tonally the singingwas a delight, for the bright and intense tones created excitement and expectancy without forcing, and the gentlest sounds still kept sufficient vibrancy to maintain carrying quality. Everything moved rhythmically in order, all was secure, and there was imagination and understanding in all that was done. The Kyrie, in particular, has a very charming sound, and it was delightfully per-

formed. There is a lyrical buoyancy in the music. The Gloria had strength and brilliance which culminated in the fugal “Cum Sancto Spiritu” sung strongly and with clear delineation. Usually, in settings of the Credo, it is the “Et Incarnatus” that, quite rightly attracts notice through its especial beauty. In this setting it was the “Passqs et sepultus est” that was so very striking. The fugal finale was grandly exciting. The quartet sang the Benedictus with tones which blended beautifully. They paid good attention to balance and to expression and there was a clear texture in their ensemble work. The work of the orchestra' was, as usual, very competent! and satisfying. For works! such as this it is not usually, possible to find the time for! many rehearsals nor could a! choral society afford to payj for them. The standard ofj playing is, therefore, all the more remarkable and the Civic Orchestra’s accompanying role is of the greatest importance now and for the future. —C.F.B.