SOUSA'S BAND.

Dominion, Volume 4, Issue 1208, 17 August 1911, Page 6

SOUSA'S BAND.

-♦ ' -, t , YESTERDAY'S CONCERTS. The small audience at the Town Hall yesterday afternoon made it apparent that the Wellington .public either has no inclination, or no time to .spare—tho latter suggestion is more.-than' probably trueto attend week-afternoon band performances, even on the very special occasions 'when that particular band happens to be world-famous, and its conductor the celebrated March King, John Philip iSousa. ' The programme for tho matineo was a very fine one, worthy of a full hall. To what has already been said of Sousa's magnificent company, there is nothing to add, save that at each concert tho extraordinary versatility of the band, and its splendid repertoire,' is more strongly emphasised, Tho opening number was the Haydn-Westmayer "Imperial" overture, which, with tho Liszt rhapsody ("The Fourteenth"), were the classic items of the series. Tho Liszt number was especially impressive, and its eloquent theme and brilliant Hashes of tone-colour called forth the highest efforts of the fine hand. An eccentric sketch, entitled "People Who Live in Glass Houses" (Sousa), dwelt, in musical parlance, upon "The Champagnes, tho Rhino Wines, the Whiskies (Scotch, Irish, and Kentncky), 'and Pousse Cafe." Suppe's sparkling overture; to "Poet and Peasant," . which concluded the programme, was another number which afforded generous scope for the capacities of the band. Miss Nicolino Zedeler, the accomplished violinist, who accompanies the band, played Hubay's characteristic "Hejro Kati," and as an encore 'added a dainty cahzonetta. Miss Virginia Root, the soprano, sang the Sousa number, "Oh, .Ye Lilies White," adding "The. Goose Girl." Mr. Hubert, Clark s cornet solos, "Carnival of Venice" and "Robin Adair," completed the solo numbers. Most acceptable were the Sousa marches, "The Diplomat," "The Charlatan," and "The Washington Post," and tho favourito valso "Jolly Fellows." At the evening concert remarkable enthusiasm reigned. Every item was encored, and on' two occasions therq wero third recalls; while now and again the audience broke into loud cheers. _ Last night's principal item was a tone picture, "TiU'Eulenspiegel's Merry Pranks," by Richard Strauss, composer of "Elcctra," the "Rose Cavalier," etc., -who .-has . recently been so much in evidence in the musical world, and about the orginality of whose orchestral treatments so much has'recently been written. The, tone picture was ■ characteristically descriptive, making remarkable demands upon the band-for its effects, and-itsvii.treatment was'iri'eVery s^'rise'artistic nnd'masterly. .We.are fortunate indeed to have had the advantage of bearing such a great interpretation of this composer's work. A symphonic - poem, '.'Lis Preludes," .by Liszt, had strong, broad treatment—a revelation in tone values—and at the end of the programme came the well-known, over-popular ''William Tell" ' overture, which was one of the gems of the evening. Nothing ruoro delightful could bo desired than the centre depiction—of the quiet village life—and again the fiery character of. the ..Swiss people was finely caught in -the greatly-accelerated 'final movement. Among'the other items was a suite in. contrasts, ."Maidens Three," which .the composer, Sousa, has-written round a three-stanza poem.. This was a cheery number, delightfully played. In fact, during the wholo concert, Sousa's compositions . were largely drawn upon, and'for encores his world-famous marches were submitted. Mr. Herbert Clark aroused' enthusiasm with his pure-toned comet solo, apparently one of his own compositions, and Miss Nicoline Zedeler again proved herself a violinist far above the average. Miss Virginia Root, though rather over-shadowed by the band accompaniment, sang very effectively Willeby's setting of "Crossing the Bar," and was recalled. . ' j