APOLLO SINGERS

Dominion, Volume 26, Issue 219, 12 June 1933, Page 3

APOLLO SINGERS

First Concert of Season APPRECIATIVE AUDIENCE The Apollo Singers, under the conscientious baton of Mr. 11. Temple White, gave one of their delightful concerts—the first of their fourth seasonal the Concert Chamber on Saturday evening, before a large and most appreciative audience. Such, indeed, was the approbation of the numbers given that, with perhaps a couple of exceptions, each item was encored. This choir of male voices continues to steadily improve. The weakness at present, and it appears to be a chronic one, is to secure sound first tenors, the top note of the quartet. Here and there this division's part in the ensemble was lost, and now and again they flattened a little in taking the high notes. Otherwise the tone of the chorus Is rich and robust, with a really splendid second bass section.

More than anything else, male choruses love those sturdy, manly songs which have as the basis of their lyrical Inspiration a love of country, so fullthroated voice was given to Frances Aylward’s “Song of the Bow,” arranged for the four voices by John Pointer, and “The Arethusa,” an arrangement by Frank M. Jephson, of William Shield’s song of naval prowess. Tastes differ In part song, as iu other departments of music, and it is with that qualification that the Irish cradle song, “O Men from the Fields,” an arrangement of Gilbert Esplin’s song by Purcell J. Mansfield, with lyrics by that brilliant Irishman Padraic Colum, was singled out as the choral gem of the evening. The setting, with its beautiful harmonic graces, serves to intensify the spirit of the poetry, and was sung with fine gradations between piano and pianissimo in the most delicate fashion. While some songs written for the single voice improve by being given a choral'setting, there are those which many people maintain it Is a musical heresy to subject to such treatment. This applies to the “ah-lng" and humming version of Schumann’s “Traumerei,” that gorgeous air for 'cello or violin. The fact remains that the novelty of hearing this exquisite melody in harmony did please the audience, who demanded its repetition.

Other part-songs were “Roll the Old Chariot Along” (Stuart Young), “Jesu, Priceless Treasure” (J. Varley Roberts), in which the Singers were assisted effectively by a boys’ choir of twelve, whose voices blended very well with the tenors and basses; “O, No John,” (arranged by 11. Triman), “The Bee and the Jam Pot” (Alfred Oake), “Tiger, Tiger” (Gibbs), “Lend Your Ear, Pretty Maid,” (McLellan), and the lovely madrigal, “Now is the Month of Maying” (Thomas Morley). The Apollo Singers were favoured by the presence of Mr. Ernest J. Jenner, of Christchurch, and formerly of Wellington, who has presided at the pianoforte on several occasions in this connection. Mr. Jenner figured not only as accompanist, but as a soloist, in which capacity he has bean heard to better advantage. He played the Grieg “Ballade,” which consists of a rather depressing theme and variations of a varied and interesting character, not by any means music of the most at-

tractive order to be found in the Grieg album. The encore was a very sprightly "Welsh Rustic Dance” by W. Bradwen Jones, in the rhythm and jollity of which runs the real spirit of the dance. In the second half Mr. Jenner played the decorative Chopin "Barcarolle,” one of the most graceful works of that genius, the “Capriccio” of T. B. Pitfleld. another modern English composer, which was reminiscent of a sea-song, with a lively hornpipe accompaniment, and the “Valse Impromptu” of Dohnanyi. The vocal soloist was Mr. G. Austin Blackie, a light tenor, who uses the mezza voice rather skilfully. Mr. Blackie sang "Sognai” (Schira), and “The Spirit Flower” (Campbell Tipton), In a manner that pleased the audience. Mr. Jenner was the accompanist.