SOUSA.

Dominion, Volume 4, Issue 1206, 15 August 1911, Page 6

SOUSA.

AND A REMARKABLY FINE BAND,j AN ENTHUSIASTIC AUDIENCE. No ono with tho lovo of music in his heart should miss Sousa's Band. At the Town Hall it played with sucli an electric action, verve, and power, that Hie applauso grew aud grew until it roused something very near to an ovation. "Bravos" mingled with cheers after the big works, aud in the case of tho Sousa inarches tlier« was a vim and hilarity in tho performance which tempted one to laugh for pure delight. The organisation is not a band as we in New Zealand know bands. Sousa has brushed asido the cobwebs of tradition and given tho world a band which is a full-bodied orchestra and brass band welded into a musical substance capable of expressing tho touo colours of both or either. There are times when with closed eves the illusion is conveyed of a very ablo brass band, and at others— particularly in the accompaniments to some of tho soloists—one could very easily be persuaded that a full family of strings occupied a place on the platform, such is the power of expression this remarkably fine band possesses. There is no weakness. Wellington has never hoard such a quartet of French horns as that which breathed out with dulcet roundness the soft solemn chords at the opening of the "Tannhauser" overture; the trombones are an awakening body; the little army of clarinets play as one man; and the bass contingent of brass and wood-wind (including a huge contua bassoon) form a noble base for a fine structure of artistic instrumentation Tho "Tannhauser" (Wagner) is familiar to all concert-lovers, but not exactly as it was played last evening. The muffled opening of the horns was given out in full, round, yet subdued, tones, in admirable contradistinction to tho same theme (the Pilgrims' chant) when taken up by the trombones, who picture the strength and grandeur of the pilgrims' faith in conflict with the whirl of things material, given expression to by tho clarinet battalion, in a veritable orgy of sustained cliroraatic runs, played with delightful unanimity. The crashing finale chords were something to remember, and made a deep impression. The applause was convincing, but before it reached its zenith the band had dashed into Sousa's march, "El Oapitan," played at least a third speedier than we are used to hearing it, and with a spirit and dash which fairly captivated the audience. "Tho Dwellers in the West" is a suite which Sc-usa calls "Character Studies,." It characterises tho red man, the white man, and the black man, and hero ono gets an insight into the resource and musical strategy which ' has made the conductor-composer famous. To tho boat of the tom-tom and the shriek of tho flutes, in the peculiar rhythm and the silent beat, Sousa has embodied the spirit of tho lines:—

And they stood on the meadows With their weapons and their wargear, Painted like the leaves of autumn. Painted like tho sky of morning. Tho white man movement, with its storm effect, is more impressive and less unique, and for Brother Sambo there is a lighthearted lilt, with quaint effects. It is not intended as a composition for a symphony orchestra, hut it is entertaining and novel music. "King Cotton" followed as tho encore. When everything was so well played it is difficult and quite unnecessary to single out what the band particularly excelled in, but if the question had to ljo answered it would certainly bb. -the Rachmaninoff prelude, "The Bells (.•* Moscow," aud Ed. German's "Welsh Rhapsody." Tho former we all know, aud because of that we are inclined to be sceptical as to the band's .ability to do justice to the "tragic idyll," but it came through the test unscathed, and respfcet was added to admiration for tho tonal qualities of this wind orchestra. Edward German's Rhapsody is a florid composition of distinct merit, well worth a place in the library of our best orchestras. The effects are broad throughout, the orchestration is original, and . Iho blehdof tho old Welsh airs, culminating in a mighty setting of "Tho Men of Harlech," was quite inspiriting. In pleasant contrast came a delicatciyorcliostrated Entr'acte by Helmsl>erger, a burbling melody of velvety voluptuousness for the flutes aud clarinets. The marches "Federal" (new), "\Stars and Stripes," and "Manhattan Beach" followed in rapid succession in response to the enthusiasm aroused. "The Rido of the Valkyries," from "Did Walkure," was played very much quicker than is usual, but with wonderful facility and impressive effect. In response to a request, tho Sousa humoresque, "The Band Came Back," introduced 1 the second part. It is tho quaintest hotch-potch ever known, and supplied a note of comedy to the programme. Tho harpist enters solus, and plays a solo, ho is joined by a single clarinetist, who, after looking round, joins in, then in drops a flute and takes a hand. Then more clarinets, followed by tho bass contingent, including tlic man-oncircling tuba (a weird and wonderful piece of machinery), which gives out "Ben Bolt." A euphonium plays a familiar air; lie is joined by a cornet, who plays something entirely different at the amc time; which act is repeated by another cornet and euphonium. Four horns como forward and play "Sweet and Low" beautifully; the orchestra chants the 1 introduction to the "A Che la Morte" duet from "II Trovatore," aud the solo cornet and euphonium (located at the back of tho gallery) play out the duet faultlessly. Finally, the whole band breaks into the "Washington Post," and Sousa, coming in last of all, takes up the baton and finishes tho strangely comic medley. If it served no ■ other purpose "Tho Band Came Back" showed that each member of tho band is a soloist and an artist.

Sousa, the presiding genius of the organisation, is a/ fascinating personality. Ho is the most placid and unemotional of conductors, and quito contrary to all preconceived ideas of the man. Even in tho most tumultuous passages of Wagnerian selections he is quite unmoved, at times merely using his baton in a radius of inches, at others executing graceful curves, and occasionally beckoning gently to the leads. At all times he, is graceful, debonair, yet commanding. Ho loses no time. As soon as he steps on to the rostrum the number begins, and each cncoro is given promptly—the band is always ready. It is a pleasant innovation.^ Tho organisation is fortunate in its soloists. In Miss Nicoline Zedcler it possesses a violinist of great talent. She played tho "Zigeunerweisen" of Sarasate very well indeed. Added to a rich, full tone, she is well equipped technically and temperamentally. The audience was quick to recognise the artist's ability, and honoured her with a double recall, which prcduced a Beethoven "Minuet" and a Bach "Gavotte," both played with convincing skill and expression. Miss Virginia Root, the only vocalist, has a fine free soprano voice of excellent texture, and also made a good impression. Her songs were "Maid of- tile Meadow" (Sousa) and "Annie Laurie." Mr. Herbert Jj. C'larko is a brilliant and finished comet soloist, whose performances alone are worth a visit to tho Town Hall. lie produces a fino resonant tone, which with (he full breadth hikes on the festal character of the trumpet, whilst his top notes are as clear n'nd reedv. as a clarinet. He played the solo, "Showers of Gold," and for an encore "Killarney," much to tho delight of tho audience. This afternoon's concert programme will include Litoltt's overture "Robespierre," a fantasia, on Wagner's opera, "Siegfried," Liszt's "Rhapsody" (tho second), and the Rakoczy march from "Tho Damnation of Faust" (Berlioz), and Sousa's suite, "Looking Upward." This evening the, programme will include that favourite overture, Tschaikowsky's famous "1812," a fantasia on Wagner's "Lohengrin," Weber's "Invitation a. la Valse," Friedmtuin's "Slavonic" Rhapsody, and a number of Sousa's own popular works.