ORCHESTRAL SOCIETY

Evening Star, Issue 22326, 30 April 1936, Page 2

ORCHESTRAL SOCIETY

FIRST CONCERT OF SEASON MR SPARKMAN'S HAPPY DEBUT Mr C. Roy Spademan made his first appearance as conductor of the Dunedin Orchestral Society at the first performance of the season in the Concert Chamber last evening, and brought the orchestra to its highest level in years. In the first place he subdued the brass and produced from that formerly noisy section an equitable contribution to the concerted music, and consequently restored a balance that was definitely lacking in the concerts of recent seasons. Mr Spaekan showed a dear and steady direction, and his readings were intelligent and direct, without frills or obscurities. The orchestra, which was spiritedly led by Miss Ethel Wallace, responded very happily, and an extremely pleasant evening followed. The first violins played very well indeed, and were always incisive and certain in attack. The musical strength of the ’cellos was not commensurate with their numerical force, and in solo melody they wavered and appeared rather uneasy. But in ensemble Mr Spacknlan marshalled an effective array in a healthy and fullblooded performance that was followed with high interest. The programme itself was admirably constituted. It nicely described the the musical arc of the average concertgoer, for what he was not familiar with he could readily understand and appreciate. The evening opened with the stately ‘ Coronation March ’ by Eilenberg, the measured rhythm of which was finely preserved. Then followed the vivid ‘ Scenes Pittoresques ’ by Massenet. The ’cellos did not make the most of the lovely melody of the air de ballet, with its intriguing pizzicato accompaniment, but the angelus scene was delightfully played, the horn music in simulation of the bells being especially arresting. The fete scene in the conclusion was brightly and strikingly represented. That poignant and moving expression of grief. Sir Arthur Sullivan’s ‘ln Memoriam ’ overture, was accorded a faithful and notable interpretation. The mood of this music was finely sustained, and it was built up to an expressive climax, an achievement that brought an encore. But the outstanding event of the evening was the Schubert Symphony in B minor (the ‘ Unfinished ’). This provided the acid test for Mr Spackman, and in it he scored his most decisive success. He gave a positive and clear-cut reading, handled the orchestra with authority, and produced from it a performance that at once caught the imagination of his listeners. The interpretation had a sweep and power that evoked critical appreciation, and the repetition of the concluding section that was asked for was highly deserved. The Sibelius ‘ Valse Trieste,’ one of th® loveliest and most haunting of all musical scenes, was charmingly played, the strings keeping a smooth and sensitive quality in their melody. Massenet’s sprightly ‘ Aragonaise ’ and a selection from the imperishable ‘ Gondoliers ’ concluded the concert. The only soloist was Mr Wilfred Kershaw. There are only a few real basses on the concert platforms these days, and among these Mr Kershaw, is unquestionably an outstanding figure.

His particular richness of voice is an exceptional attribute, and he sings with obvious interpretative and technical skLiL His solos last evening were two celebrated arias—the ‘Tnfelicel’ from Verdi’s ‘ Enani,’ and the ‘ Dormiro sol nel manto mio Regal ’ from the same composer’s ‘ Don Carlos.’ The breezy old ballad ‘ Father O’Flynn ’ was a popular selection as an encore. Mr Kershaw’s accompaniments were not very happily played.