SYMPHONY CONCERT

Dominion, Volume 22, Issue 263, 2 August 1929, Page 6

SYMPHONY CONCERT

“PROMETHEUS” AND THE “EROICA”

Musie lovers were afforded another rich fp'ist of the beautiful in music in the concert given at the Town Hall last night by the Wellington Symphony Orchestra. This institution, under tlie skilful direction of Mr. Leon de Mauuy, has aimed very high since its inception, and the success attepdaut upon its sincere efforts has been considerable. It cannot be expected to attain a standard of symphonic excellence such as is acquired bv the great permanent orchestras overseas with their great financial and artistic resources, but Wellington is fortunate in the possession of such an orchestra. It is a fii’elv welded body of good material, with the driving force of enthusiasm behind it, and a conductor who has much more than a working acquaintance with traditional interpretations;. It was rather ambitious to single out Beethoven for such homage as was done him last evenin' - ’ The programme included the overture to the ballet of “The. Men of Prometheus,” an attractive if not one of the composer’s profound works, yet one which has been popular ever since its first performance in public. It is the pompous ,a nd theatrically elaborate prelude to the ballet, but in itself gives, no reflection of dance idioms ■ as we know them. It was played with fine precision and certitude, the massed strings being quite impressive in volume and tone. Then there was the lovely “Romance in F,” a thread of golden melody for the soloist (Mr. de Mauuy) against a light background of strings and wood-winds. Here is Beethoven in a flelightfully sentimental mood, expressed in a cadence in a perfect setting. The soloist exerted a suave tone of lingering sweetness and artistic Refinement, and well-deserved the “bis” which followed.

Mr. A. Truda conducted the: “Romance.” The piece de resistance of the evening was the mighty “Eroica Symphony” of Beethoven. No. 3 of the “Immortal Nine,” which has intrigued musicians and the music-loving public as much as any of them. The “Eroica” is a work of "tremendous dignity and uobility of aspiration. Most people are aware that Beethoven composed this symphony as a trfbute to Napoleon Bonaparte as a superman, but when in Vienna lie heard that Napoleon bad crowned himself “Emperor of the French” he seized the commitli/; title page, and, in a violent rage, tore it to shreds in utter di l ust at the fall of his Idol, since when the work has been known as the “Erolea" (heroic) symphony. The first movement is a brilliant pacn of praise highly festal in character, reflecting in ils martial character the advance of a victorious army—bright, vivid marches and ensembles, developed from simple themes to triumphant pageantry in music. The slow movement—marcia fiuebre—is naturally a superbly poignant tribute to those who have fallen in battle, a solemn requiem of minor cadences, exquisitely conceived, and very well played. The third movement—scherzo—is a truly gorgeous one. It conveys with a sure touch and great abandon the rejoicing that follows victory, with the gay ebullianee of the people broken by fanfares of trumpets, and the exhilarating marches of the victorious army. The final movement is rather nondescript. It commences with a pizzicato passage of a highly melodramatic character, followed later by some delicate interchanges between the strings and wood-winds, and ends grandiose enough, but without conveying anything like the meaning so graphically expressed In the first three movements. The symphony whs strongly played Tlie music of the second half of the programme was of a lighter character. It Was Interesting to hear Tavan’s arrangement of Puccini’s “La Tosca” music In fantasia form, fuit just aS Puccini’S vocal melodies require the orchestra, so does the orchestra require the voice to induce the trfic Pucelnian savour. Debussy’s “Petit Suite” is delicious niiisie—little etchings in colour, picked out with the daintiest Orchestral touch. Of the four movements, “Cortege,” the picture of a gay procession in carnival time, embodied “all the fun of the fair.” The concert concluded with a rather sombre-toned homage march, “Sigurd Jorsalfar” which, though a line musicianly work, is scarcely the BHtish idea of a grand triumphal march.