ORCHESTRAL SOCIETY

Evening Star, Issue 22069, 1 July 1935, Page 3

ORCHESTRAL SOCIETY

SECOND CONCERT OF SEASON ATTRACTIVE ENGLISH MUSIC There was no evidence in the Orchestral Society’s concert on Saturday night of the inadequacy of rehearsal that was so painfully apparent in the first performance of the season. _ On the contrary, the only logical inference that could be drawn was that Mr Griffiths had taken the orchestra through the earnest study and constant practice that are absolutely necessary in the preparation of any concert, and the consequent improvement in performance was as marked as it was timely. Critical subscribers were quick to detect from the very outset the re-estab-'lishment of the certainty and solidity which were the distinguishing characteristics of these concerts for many years. The programme lent itself admirably to clear and forceful interpretation, and these qualities could he given full play. While there was little in it to strain the powers of a major orchestra, it was highly attractive_ in composition, the dominant note being struck by music from the modern English school. _ The orchestra opened with the Coronation March ’ from the Meyerbeer opera ‘Le Prophete,’ and its stately and powerful measure was finely accentuated by very full orchestration and steady rhythm. Next were three sketches from the Eric Coates * From the Countryside ’ suite. Its _ simple scenes were depicted with clarity and charm. At the same time, the most vivid impression the listener receives "from this suite is that Mr Coates has worshipped rather too ardently at the shrine of Sir Edward German. There was a very healthy performance of the richly musical Schubert ‘ Rosamund e ’ overture. Here, again, all the sections of the orchestra produced full and colourful effects: The Mouten_ ‘ Festival ’ overture was a pleasant revival. Monton wa:i a firm favourite with the old Philharmonic Orchestra, and it was "ood to hear his simple and unpretentious melodies again. The ‘ Chelsea China ’ suite, hy Maurice Besly (more familiarly known for his songs), held unusual 'interest. The pastoral was charmingly played by the muted strings. and the military march commanded immediate attention hotlp by its structural development and virile performance. Sir Edward German’s ‘ Nell Gwyn ’ dances were naturally a decided popular success. These 'lively airs call for robust and clear treatment, and the orchestra made much of them. Concluding the concert was the ' English Folk Songs ’ suite by Vaughan Williams, and here three delightful and refereshing scenes wore firmly etched. Miss Ethel Wallace, Miss Elvira Wycherley, and Mr Max Scherek collaborated in a workmanlike performance of the Beethoven ‘ Trio (No. 1) in E Flat,’ and gave its lovely melodies fine point by the clarity of their individual and concerted styles. Mr Alfred Walmsley and Mr Don MTnnes were associated in a series of long and difficult operatic duets —the passionate outbursts of lago and Otbello in the second act of Verdi’s * Othello,’ the dramatic battlefield scene (‘ Swear In This Solemn Hour ’) between Alvaro and Carlo in another Verdi opera, ‘The Force 1 of Destiny,’ the rejuvenation scene in Gounod’s * Faust.’ For an encore they sang Lane Wilson’s jolly * Two Beggars.’ Both Mr Walmsley and. Mr M'lnnes sang with confidence and enunciated their often conflicting parts very clearly. They had a clear perception of the dramatic values necessary for their music and contributed several studies of unusual and forceful interest. The accompaniments were played by Mrs Walmsley.