PHILHARMONIC SOCIETY

Evening Star, Issue 21076, 13 April 1932, Page 2

PHILHARMONIC SOCIETY

FIRST CONCERT OF SEASON The solidity of the heavy concerted music was the feature of the Philharmonic Society’s first performance of the year in the Town Hall Concert Chamber last evening. There were technical weaknesses that made an even lino difficult to sustain, but generally the programme gave critical concertgoers the satisfaction afforded by all Philharmonic efforts in recent years. Quite an interesting selection of orchestral items was played, commencing with Signor Squarisc’s own ‘ Marche Triomphale,’ The energetic rhythm of this march opened tho concert brightly, though a little more variety would have heightened its effect. The overture to Verdi’s sanguinary ‘ Forza del Destino ’ was the first major work of the evening. The tragic character of the opera was forcefully conveyed in an interpretation of colour and vitality. Marsden’s ‘ From a Russian Village ’ was a performance of pleasant contrasts, tho music being interpolated with effects apparently Russian. The introduction of that wearisome ‘ Song of the Volga Boatmen ’ was inevitable. But it was quite a vivid study of Russian scenes. 1 Impressions Exotiques,’ a suite of four Eastern sketches by Mouton, aroused interest by their varying styles and suggestions. Perhaps the most important work of the evening was tho SaintSaens ‘ Dance Macabre.* The orchestra caught the spirit of this weird and ghastly dance, and the eerie scene in the churchyard was strikingly depicted. There was difficult work for the leading strings, and Miss Williams _ and Miss Paine showed skill in Saiut-Saens’s strangely effective intervals. Thiele’s ‘ Sing-song Girl,’ a Chinese intermezzo, was a happy break in tho heavier orchestral items, a fanciful and lively air that was immediately popular. The programme concluded with the Mouton overture I Le Sorcier dir Pont-Aven.’ This Belgian composer is a generous donor to the society, and Signor Squarise has an obvious fondness for his works. Ho seems to be seldom unrepresented. The vocalists were Miss Muriel Eagar and Mr E. J. MacFarlane, Miss Eagar first sang the ‘ Mad Scene ’ from ‘ Lucia,’ that brilliant aria so beloved by all great coloratura sopranos. It abounds in effective cantabilc and graceful ornamental passages* and calls for consummate skill in execution. Miss Eagar gave an earnest study, but was not at ease in her upper register. Her lower notes wero true and pure. Recalled, she sang another famous soprano song, Bishop’s ‘ Lo, Here the Gentle Lark.’ In both these a flute obbligato was played by Mr H. M. Nees. Teresa Del Riego’s ‘ The Reason ’ was her happiest choice, a ballad she sang very attractively. ‘ Poor Wandering One ’ was a refreshing encore song. Mr MacFarlano is a young tenor who should develop appreciably. He has extremely fresh and pleasant quality, gratifying clarity, and shows sympathy and tasto in his interpretations. Schubert’s ‘ Who is Sylvia?’ was charmingly expressed, and both 1 Believe Me if All Your Endearing Young Charms ’ and ‘ Since First I Saw Your Face ’ (Ford) suited his stylo admirably. The accompaniments were played by Miss M. Frazer.