ORCHESTRAL MUSIC

Hawera Star, Volume LIII, 1 November 1933, Page 10

ORCHESTRAL MUSIC

liAVVjhitA SOCIETY’o GO A CERT. A iWULAR PROGRAMME. The series or numbers presented by iiio nawera v/rcliestrai society last night in &t. Mary's Half was culled hum wo 111 s which nave oeen amongst me most popular in the field or orchestral music. They delighted the nirgc audience ana helped to form one or me most enjoyed programmes yet given by the society. lhe famous “Zampa” overture, with its lovely melodies and refrains and its line xull orchestral effects, proved mat it is just as popular as it was when first produced HX) years, ago. lhe opening theme was typical of the subject or one opera, and. after a pretty andante the haunting beauty of the •‘Prayer” is heard on the oboe and wood wind and the number works up to a grand climax. A different field was explored in the second number, the strikingly original “Barotse” selection, based on the original themes of the merimba or xylophone band. This, as explained l briefly by the conductor, was ‘ the origin of jazz and came from the music of the tom-tom, with the weirdly beautiful tunes and peculiar rhythm adopted by the natives. The orchestra gave a very effective interpretation of this work, which was perfornled for the first time in New Zealand. They caught the “atmosphere” of the music very well, with its weird harmonies and its unusual accent. j The “colour” and abandon of the merimba band, as adapted by the composer, were heightened in effect by the introduction of the song by Mr A. Rushton in the native Zulu tongue. His singing helped to add a realistic touch, and the music of the xylophone and saxophone proved most effective. The numlier was a decidedly rhythmic novelty on an orchestral programme. The third selection by the orchestra was the presentation of an imitation, in music of the street puppet show, I the ‘Punch and Judy” ballet music of Norman O’Neill, with all its very human touches. It proved very popular.

The concluding number was the famous concert waltz “Blue Danube,” which so completly captivated the world when first written by Johann Strauss during last century and which continues to hold its place as perhaps the most delightful of all concert waltzes. It proved a fitting conclusion to an unusually interesting series. There was a fine full volume of tone in the work of the orchestra and 1 an excellent power of expression, and they played with a real abandon and verve that were most effective. Their I work was a, credit to themselves and ! their conductor, Mr H. C. A. Fox, and showed the results of his careful training. As always he had. them under very careful control, and the effects secured were strikingly good. ! The were three artists from! New Plymouth and they served to! maintain well the high standard set: by those who have in past years as- 1 sisted the society. I Miss Evelyn Dowling, violinist, j proved herself a most thorough and finished player. All her work bore the J impress of a sincere devotion to her

art and made her at once a favourite | with her listeners. She chose a lovely j “Adagio Molto expressive” from Beethoven and a Kreisler number “La Precieuse,” and she drew from heri instrument a fine rich tone and played! with a care and finish that were mark-i ed features of her performance. She added a Gavotte (Gossee) and an “Andantino”. (Martin-Kreisler) in response to decided encores. Madame Vet a Cornwall is a light soprano with a really wonderful power of vocal technique and an artistic sense that made her work of outstand-

in" interest. She has, too, an extra ordinary range and a voice of ver nice quality and timbre. Th “Polonaise” from Ambrose Thomas “Mignon” gave the singer the utmos scope to show her art, and it was i number that thrilled her audience The second was a delightful ballad “The Nightingale and the Rose,” am she was just as successful in the sim pie ballad as in the florid aria. Sh< was enthusiastically recalled, ant added “Semper Vorreste,’ ’ by Vei*di and the lovely “Piflnetto” of Tschaikowskv.

A boy soloist of 11 years. Master Ken Bullin. was the third soloist, and he maintained well the reputation he has made in New Plymouth. He has a flear. true soprano voice, and sings 'vith a charming natural ease of style. was at once popular in his songs, “W oudoring Why” (Clark) and the "fthetic “Slave Song” of Teresa Del P’ego, and was recalled for both, adding “Farewell to Summer” and “Pf'se of Tralee.”

The accompaniments to the solo numbers were played bv Miss Kathleen Fairhall most effectively and vuth a power of sympathy and appreciation that was a marked feature of her work throughout. Very efficient work was done "by the society’s pianist. Miss Rodgers. who had a . great deal to do and did it well.