Balance problem in concert

Press, Volume CXIV, Issue 33520, 29 April 1974, Page 12

Balance problem in concert

The Harmonic Society’s first subscription concert for this season was given on Saturday evening in the Cathedral of the Blessed Sacrament. Mr W. R. Hawkey conducted, and the accompaniments were played by the Christchurch Symphony Orchestra, led by Mr L. Yffer. Two works were performed: “In Terra Pax” by the Swiss composer. Frank Martin, and the huge Te Deum bv Berlioz.

! “In Terra Pax” is a work commissioned by Radio Geneva in 1944 to be used when the War ended. The libretto, in French, was chosen with admirable skill from various parts of the Bible, from prophetic writings proclaiming war as a punishment for sin, from penitential sections in search of forgiveness, from the “suffering servant” prophecies of Isaiah, and from Apocalyptic writings showing hope in the future.

The music has individuality, and is dramatically telling. A wide range of colours is demanded with interesting building to blazing climaxes. Many differing atmospheres have to be created, and all this was done with highly commendable results. Because the orchestra was in the nave and the greater part of the choir was behind the sanctuary arch, a good deal of the choir’s work was sup-

pressed by the strong orchestration. A larger body of singers would have been necessary with some different arrangement of choir and orchestra for a completely successful result. The soloists. Anthony Benfell. Flora Edwards, Louise Malloy, Brian McKay, and Christopher Dcig. all sang with intelligence and artistic skill, but voices of more powerful operatic quality were needed at most times. They were not able to contend with complete success against the heavy and brilliant orchestration.

The orchestra played splendidly throughout the evening, and it was not the fault of the players that balance was not always satisfactory. Where harsh sounds were required, and that was frequently in the "In Terra Pax,” they were not afraid to make them. Many of the big effects were magnificent.

I Although words were often not heard clearly, much credit must be given to the choir and to the soloists for their success in singing in French — no easy or rewarding task, except for Frenchmen. The Berlioz Te Deum was written for a huge body of voices and a massive orchestra which would be horribly expensive if it were ever assembled. Determined not to stint in the first performance, Berlioz wished to have the Pope at one end of the church and the Emperor at the other, but they pleaded subsequent engagements.

The orchestration was lavish, .and portions of the accompaniment were effectively balanced between the orchestra and the organ, played with ta-.e and skill by Mr Don Whelan. The Sacred Heart School and a group of trebles from St Andrew’s College joined the Harmonic Society in the first and last sections of the work. Bright tone was produced, giving point to the soprano lines. Mr Anthony Benfell sang the tenor solo in the Te I Ergo with warmth and dramatic feeling. He showed (Strong sense of style. | In this work also the balance between voices and ’.accompaniment was not enitireiy satisfactory, hut there (were manv parts where [richly sonorous effects were i obtained.

Mr Hawkey's conducting throughout the programme showed clear understanding of the music and awareness of every problem of performance.

The choir sang with exemplary precision and with fine tonal quality. Acoustic problems caused by the placing of the various forces militated against clarity of words, and caused some subtleties of expression to be dimmed. However, a sincere, stylish, and convincing performance was given, and was enjoyed by a large audience which had braved the rigouis !of a very cold night. The choir will shortly be going to Australia for several I concerts in three states. Many good wishes for a , happv and successful season iwi’l be extended to th ern. —C.F.B.