PHILHARMONIC SOCIETY

Evening Star, Issue 21219, 28 September 1932, Page 1

PHILHARMONIC SOCIETY

THIRD CONCERT OF SEASON A Philharmonic Society performance is apt to suggest a rather uneasy evening for the more exacting concertgoer, for ho will find himself almost continuously in doubt as to precisely what is coming next. Last night’s presentation in the Town Hall Concert Chamber was in point of fact better than usual, but that element of uncertainty was again intrusive throughout the programme. Its presence argues either a lack of understanding on.the part of tho players or plain inability to meet the executive requirements of tho music. One performance last evening that inspires such criticism was the first movement from the ‘ Fifth Symphony ’ of Glazownow. It was dreary and uninteresting, and the musical parallel of a blotchy problem picture. There is a remote possibility that it may have meant something to the orchestra—it certainly meant nothing (apart from the • tense of acute discomfort . it created) to the intelligent listener in the audience. Alusic of this school and character can receive exposition from only the best orchestras in the world. The lighter pieces chosen for last night’s concert suited the orchestra better, but even here there was not invariable impeccability in performance. Airs like the Quinn ‘Souvenir de Venise,’ Signor Squarise’s arrangement of the Beethoven 1 Alinuet in G ’ for the strings, a Meyer pizzicato study (‘Serenade Roccoco’), and a Japanese dance by Chapui (‘Ke-Sa-Ko’) were all very pleasant at various stages, but the smoothness or evenness of the playing was occasionally upset by /an injudicious entry, a definite lapse from pitch, or confusion in tempo. Among the more important works was the Mancinelli overture that forms part of the incidental music to Pietro Cossa’s drama ‘ Cleopatra,’ produced in Rome in 1877. In this overture the strings showed up more effectively than they have. for many concerts, producing legato tone that was extraordinarily good. The ’cellos were the first members to record on the inevitable debit side. Their tone was very poor. However, it is a difficult work. Tho most satisfactory orchestral item was the prelude and Siciliana from 1 Cavalleria Rusticana.’ This .was interesting and generally melodious, despite technical deficiencies, and reached the only powerful finale heard during the evening. Other selections given were ‘The Night March,’ a bright composition by Martell, and a Massenet andante, ‘Lo Bois Sacre,’ a feature of which was a smoothly-played flute solo by Mr H. Campbell. Added interest was lent to the Mascagni music by Mr Alfred Walmsley.’s singing of tire ‘ Siciliana,’ the famous song given by the faithless Turridu before the rising of tho curtain. Mr Walmsley also gave Caesar Franck’s ‘ Wooing of the Rose,’ a charming ballad charmingly sung. Mr Dudley Poole, a young baritone who has developed considerably in the last year, made bis debut at these concerts, singing Schumann's ‘ Two Grenadiers.’ This young gentleman has a fine and assured quality, and gave this celebrated ballad dramatic point. Mr Walmsley and Mr Poole were also associated in the ‘Soleune.iu Quest’ora ’ duet from ‘La Forza del Destino ’ of Verdi. Miss Beth Ritchie was "the other soloist, singing the Liszt ‘ Lorelei ’ (rather an advanced study) and Spobr’s ‘ Rose, Softly Blooming.’ Miss Ritchie was warmly applauded. The accompanists were Mrs Walmsley and Miss Marv Fraser.