WELLINGTON CHORAL.

Dominion, Volume 1, Issue 18, 16 October 1907, Page 9

WELLINGTON CHORAL.

SOCIETYo

GOUNOD'S "REDEMPTION." During his latter days, when the twilight of life seemed to have enshrouded the gifted composer within a veil of religious mysticism, Uiarles Francois- Gounod wrote " The .Redemption." Jt was, as ho himself described it, the work of his life. "The Redemption" is a sacred trilogy, depicting the Crucifixion, tho Insurrection' and the Ascension, and the lentecost, with a dramatic prologue, representative of the Creation, the Fall, and the J romisc of Redemption. Essentially a devotional work, it is nevertheless vividly illumined and'intensified by flashes of the highest dramatic genius. The com poser began this masterpiece in the autumn of 1867, and worked at it intermittently over a period of twelve years, when it was finally completed with the idea of producing it at tho Birmingham Musi-' cal Festival of 1882.. .... . ■ .. . It was no mean task that Mr. J. Maughan harnett and his excellent chorus and orchestra attempted, when they essayed the inter-, pretation of such a work as "The Eedemption." The fine, sensitive chromatics, a charnctaratic of the oratorio, make demands on the vocal and orchestral abilities of the performers, which must inevitably have entailed Hie most arduous .ind conscientious work. Hγ. Maughan , Barnett is a painstaking conductor, and last night's performance was' a very fine tribute, both to. his own and his Society's reputation for careful prepartion and artistic finish. The -prologue opened with a soft mysterious '' movement by the orchestra, suggestive of the dim dawn-light, the birth of the world; the -theme, characteristically chromatic, developing gradually td tho climax, in fortissimo, introducing the Fall. The Btory was then taken up by the Narrators, Messrs. Andrew Black (baritone), and Mr. E. ,T. Eill (tenor), in three,fine recitatives, culminating in the full chorus, "The Earth is my Possession, where is set forth the Promise of Redemption. This ended the prologue. Part I. of the trilogy proper (Calvary and the crucifixion) wes conspicuous for the inspiriting orchestral "March 'to Calvary," introducing the old choral melody, "Forth the Royal Banners Go," and followed by a series of short recitatives and arias by the Narrators and the Uirißt (Hγ. John Prouse), admirably. ren-" tiered. .A striking chorus "Ha! Tliou that dosit_ declare," illustrative of the mockery and jeers of the paesers-by, which also occurs' in this part, was exceedingly well done. Two beautiful quartets,, "0 My Vineyard," and Beside the Cross remaining," were among the gems-of the "Crucifixion" music. Part I: concluded with a dramatic representation of the traditionary darkness and earthquake which followed the final scene On Mount Calvary. Part 11., dealing with the Resurrection and Ascension of Christ, introduced, in • tie choral scena, "The Holy Women before the Apostles,", a beautiful trio, "The Lord, He is risen , agairi." The rendering of this number, by Mrs. R. Hudson (soprano), MissMina Caldow (contralto), and Miss Eva Hash' (contralto), was warmly applauded. A. feature, also, of this part, were the answering trumpetcalls in the opening chorus. The magnificent' rendering of the majestic chorus, "Unfold, yo Portals ; everlasting," which concluded Part 11., elicited an , enthusiastic burst of applause. Part 111., the Pentecost, had, unfortunately," to be' considerably- curtailed, owing to the magnitude of the oratorio. The solo work throughout was, on the whole, comparatively light, the heaviest part being allotted to the soprano (Mrs. R. Hudson). From a performance, of such exceptional merit, it is difficult to single out individual instances other than nns been already indicated. We congratulate Mr. Barnett on his achievement. Music-lovera , had undoubtedly fully appreciated the merit' of the occasion, for the Town Hall was well filled in air parts. His Excellency the Governor, hud intended to be present at the perlonnance, but was prevented from doing ea by a previous engagement. :