HARMONIC SOCIETY

Evening Post, Volume CXV, Issue 106, 8 May 1933, Page 3

HARMONIC SOCIETY

AN ARTISTIC CONTRALTO

Mr. Temple White' and the Wellington Harmonic Society at the Town Hall oa Saturday gave a most enjoyable concert. They had the invaluable assistance as a, soloist of Miss Mary Pratt, a contralto of outstanding merit. The programme was artistically diversified, and proved "highly acceptable to the audience, which strongly emphasised its appreciation of the' various numbers. In homage to Brahms, ths anniversary of whose birthday fell yesterday, the society opened the concert with the part-song "Come Soon," a lovely work sung with marked expression. "Rich* ard of Tauhton Dene," an old Somerset" shire song, with a good West Country accent given to the words, was ottered in sharp contrast to the Brahms lied. The society acquitted itself with credit in this folk song, in its artistic effects, its smart response to the conductor'! beat, it* readiness to attack, its neat and crisp endings. So well sung was this number that the audience insisted upon its repe» tition, which was cheerfully given by ths well-balanced and well-trained singers. "Bring Us Good Ale," a fifteenth century humorous ditty, set to lusty musia by Gustav Hoist, was another of the society's staf number* of the evening. Very beautiful was the part-song, "A Sunset Reverie," by Wilfrid Shaw. ■ It called for delicate and expressive treatment, . and such it adequately received, ending in a. pianissimo that was the perfection of artistic choral singing. "Going Home," a negro spiritual adapted'from'the Largo movement in Dvorak's symphony, ■ "Tne New World," was still another of th» society's great achievements, and it had to be repeated. It owed much of its success with the audience to the accompaniment* on the organ and the pianoforte, played by Air. Clement Howe 'and Mrs. Esther Caigou respectively. ;The society* other numbers,,each sung with ability, understanding, and in perfect time, . wer« "The Fountain" (Elgar) and ■ "Bidmouth Dears" (Martin Shaw). Miss Mary Pratt's selections . wers "Creation's Hymn" (Beethoven), followed by "How Changed the Vision" (Htndel). The former was sung with a deep sent* of the majesty of both- the words arid its musical setting; the latter with perfect ease and-realisation of the need for preserving the identity of each'note'in the brilliant ru,ns which were a marked and characteristic feature of this number. Two songs of Schubert (in English) - wers sung by Miss Pratt towards .the end of the concert. They were ."My Dwelling Place" and "The Stormy Morning."'Boili confirmed the impression which' Mist Pratt made earlier in the evening of her rich endowments ■in the natural beauty of her voice, her descriptive power, warmth of tone, and gift of imparting and controlling the desired shedes of expression which her varied ■ selections required. In addition to her programme numbers, Miss. Pratt - sang . with evident satisfaction to her delighted hearers, "Barney O'Hea," "The Bonnie Briir Bush," and "Ring, Bells, • Ring." As a concert platform singer she wat a brilliant success. But her voice,' personality, and ability to enter into and rwcal th« moods of her often entirely ■ dissimilar numbers, provoked curiosity to bear her in selections from grand opera. Mention should be made of the felicitous inclusion in the programme of an Irish song for women's voices, "Follow Ms Down to -Carlow"—a melodious, bright, and excellently rendered number. The quartet for soprano, alto, tenor, and bass, "Love Was Meant to Make U» Glad;" from German's opera, "Meni« England," was capitally sung by members of the society. When recalled, they sang the madrigal from "The Yeoman of.the Guard," which was to be preferred to tha quartet preceding it. Mr. Temple White* vocal forces did him great credit, and they, in. turn, were his debtors for obviously careful, competent, and artistic direction. Mr. White played as organ solos Handel's "Cuckoo and Nightingale Concerto" and "On the Moor," a descriptive Hebridiaa pastorale, for both of which he was vigorously applauded. The concert was brought to a close with full choral and organ accompaniments, by the chorus and trio, "Promised Joy 6," from Mendelssohn* "Athalie." - . '