THE WESLEYAN MUSICAL FESTIVAL.

Lyttelton Times, Volume XXXVII, Issue 3565, 21 June 1872, Page 2

THE WESLEYAN MUSICAL FESTIVAL.

The musical festival, so long the subject of anxious thought and careful preparation amongst the Wesleyans of the metropolitan circuit, and of pleasurable anticipation amongst members of the church in other parts of the province, was held in the Durham street church last night. As the experience of the past few weeks had indicated, the building was filled to overflowing, not merely by residents of Christchurch and the suburbs, bat

by visitors from Kaiapoi, Lyttelton, and many places within twenty miles of the city. A still more pleasing feature in the constitution of the vast assembly present —numbering at least 1600—was, that, every denomination in the province contributed its quota to the number. When, to this, we odd that the festival itself was—musically speaking—n success, considerably above the average of what is generally scoured at such gatherings, it may safely be conceded that the promoters have every 1 reason to bo exceedingly gratified, with the result. ■

The festival, unlike its predecessor of last year, was invested with an importance of a two-fold character, for although being ostensibly a portion of the Durham street church anniversary proceedings, it had a direct connection with the circuit generally, inasmuch as, by a liberal concession on the part of the church ofllcers, the proceeds were specially devoted to the benefit of the circuit fund. It would appear that the balance (£1000) of the original cost of the church remaining unpaid at the date of the last anniversary having, together with the cost of the new parsonage (£650) ,beenprovided for by a loan from the Provincial Investment and Loan Association which is to be repaid by small monthly instalments, the church officers found themselves in easier circumstances, and at once came to the relief of the circuit stewards, which formally potent reasons was very acceptable. A circular issued by the latter sots forth these reasons in a paragraph, which says—“ In consequence of expenditure caused by the division of the circuit and the furnishing of the parsonage, the Circuit Quarter Board is now burdened with a debt amounting to about £290. A second minister has recently been appointed to the circuit, and it is probable that the whole income of the Quarter Board will bo absorbed by current expenditure.” How far the sympathies of the general public were excited by this announcement is shown, not only by the numbers present, but by the fact that the collection mode during the evening realised no less a sum than £132 18s 9d. But the sympathy exhibited by the musical world was even more notable, for whilst possessing the same characteristics as the audience in the matter of other than the Wesleyan denomination being represented, it must be remembered that an immense sacrifice of time was made by the instrumentalists and vocalists for study and practice, and that instead of their participation in the festival being one of personal enjoyment it was a labour of love for the benefit of others. As an instance of how far the performers were of a mixed character it may safely be said that there was scarcely a vocalist or instrumentalist of note who could spare the time that did not take part in the proceedings. There were no less than twentynine of the latter, which is a larger number than we have ever before seen in Christchurch, and there Were quite one hundred and fifty voices. Mr Landergan officiated as conductor, and Mr Biinz as leader of the band ; Mens. Fleury being also amongst the first violinists.

Tlie doors of the church were thrown open at seven o’clock, and not only the whole of the fixed seats but even temporary seats in the aisles, the pulpit stairs, and every inch of available space was occupied in an inconceivably short space of time. The arrangements for the festival were of a very complete character, and gave universal satisfaction. The orchestra occupied the centre of the gallery, immediately over the pulpit, on the summit of which latter the conductor’s stand was fixed, and the vocalists were arranged on either side. Beneath the pulpit was a raised platform, for the accommodation of the speakers, and ministers of the church. Admission was solely by ticket, and, as the church officers showed the public to their seats as they arrived, everything was characterised by the best order and decorum. Amongst those present we noticed his Honor the Superintendent, and a large number of our most influential citizens.

The proceedings were opened by devotional exercises, conducted by the Rev. A. E. Fitchett, verses 2,3, and 4, of hymn 671, Wesleyan Hymn Book, were sung, after which the 133rd and 134th Psalms were read, and prayer offered up. The Rev A. R. Fitchett then stepped forward and said he had much pleasure in asking Mr J. T. Peacock to preside. Mr Peacock said it afforded him much pleasure in complying with the request, more especially as there were several members of other churches who had come to give them a helping hand that evening, and there were also members of other denominations in the body of the church. This intermingling of denominations was a right thing, and he hoped it would grow more rapidly every day. He took it that life was much too short for them to indulge in fomenting religious animosities, and that they should avail themselves of eveiy opportunity for meeting together in friendly communion. There was to be a musical festival that evening, and therefore he would not inflict a long speech upon them. Before he sat down, however, he would remind those present that object of the festival was to raise money for clearing off the circuit debt, and as no charge had been made for admission, he hoped they would make up for it when the collection was made. The expense of the festival would necessarily be very heavy but the circuit stewards expected that such generosity would be shown as would leave a large balance after paying all the expenses. He would now ask the Rev A. E. Fitchett to say a few words on financial matters.

The Rev. A. R. Fitchett said it was scarcely necessary for him to say much on finance, inasmuch as the printed balance sheets had been widely circulated. He wished, however, to call attention to the fact that this church had during the year 1871 raised the sum of £1062 for all purposes, which was more than required to meet their expenses j but the church formed one of a fraternity of congregations, which contributed to the circuit or sustentation fund, which by the division of the circuit during the year had incurred a debt of £29s,and it therefore behoved the church to aid in removing it. The trustees of the church, who were entitled to receive the proceeds of that evening’s festival, had accordingly placed the proceeds at the disposal of the circuit stewards, who hoped to bo able to clear off their debt by the contributions that evening. As an example and encouragement to those present, he might say, that Mr C. W. Turner, who should have made the financial statement, but was absent in Auckland, had telegraphed to say, that his donation would be £lO. He (the speaker), wished it to be understood that the festival that evening was intended os a high expression of praise to God for his mercies during the year. They did not want the church to be converted into a concert room ; but, that although the audience did not take part in the music, they would be drawn by sympathetic means into that kind of feeling to which the music is intended to give expression. The Te Deum was the property of the whole Christian Church, and the martial and jubilant music was due to the fact that it was composed in celebration of the victory of Dettingen. Nevertheless it might very properly be taken to express the feelings proper to the occasion which they met to celebrate—the anniversary of the church. As the festival was of the nature of worship, ho hoped they would not applaud. Prayers and hymns on Sundays were not applauded, neither did he think that the music on this occasion should be. He would now give way in favour of the performers. The first part of the music was devoted to the Dettingen “ Te Deum,” which was composed by that great master of harmony, Handel, as a thankgiving for the victory of Dettingen, which rescued from almost certain ruin the Austro-English army commanded by King George 11. Its chief characteristics ns a musical composition, as will be understood from this, are essentially of a martial and jubilant character, though softer passages are not wanting to give a pleasurable change. To give a criticism of the composition would only bo to repeat what has already been done, and what is very generally understood by those who care to read such writings. Proceeding, therefore, at once to the performance of lasi night, we may, without hesitation or compunction, pronounco it a decided success, more especially when it is considered what difficulties had to be contended with in an orchestra which, by reason of its strength, included vary many amateur instrumentalists. The instru-

monts were very fairly balanced, the brass being, perhaps, a trifle too predominant. The fault rested with the second cornets, some of which wo can bat think would, have been bettor dispensed with. This is said with a full recognition of the fact that in the accompaniments to the “To Deum” there is great work for comets. It is to the credit of these instruments that they were well played, the passages being exceedingly well taxon up throughout. The voices wore very well balanced, but, generally speaking, the leads were taken up with indecision. Proceeding'next to notice the component parts of the “ To Deum,” it must bo conceded that as a whole they were marked by very gratifying characteristics. They possessed good volume, and were very steadily takon. The opening chorus, “Wo praise Thee ” was exceedingly good throughout. In “All the earth,” the instruments were unsteady at the commencement, but this was soon remedied, and in the finish of tho chorus they were very true and effective. We regretted to find that “To Thee all angels ” was omitted. It is of a sweet, plaintive character, and, has a very beautiful effect between the joyful choruses, “ All the Earth,” and “To thee Cherubim,” the latter of which wo may remark, en passant, was taken steadily and well throughout. Tho concluding chorus, “ O Lord, in Thee have I trusted ” was beautifully given, being about the finest rendering of any chorus that we have ever known in Christchurch. All the instruments kept splendid time throughout, and the vocal leads were taken up with precision, and were well sustained. The quartette and solos were scarcely so meritorious in execution as the choruses, but they were by no means of an indifferent character. The quartette and chorus, “The Glorious Company,” went very creditably. The solo “ Thou art the King of Glory,” was exceedingly well given. The singer was in capital voice, he observed excellent time, and took up his leads very correctly. The cornet obligato was of proportionate merit. The solo “ When thou tookest,” was deficient in clearness. The trio “Thou sittest at the right hand,” is a very difficult one, and was not well given. The best voices were not, in our opinion, selected for it, the alto being notably indifferent in style. The voices were somewhat confused, but the accompaniment was very good. The solo, “Vouchsafe O Lord,” was sung in excellent voice and time, and with a suitability of expression that showed thorough appreciation of the music.

At the termination of the “ Te Deum,” the vocalists and band retired for refreshments, and the interval was filled in by a speech. Mr Fitchett then delivered an address upon “ Music as an Instrument of Culture.” He said that in a community so devoted, he might almost say addicted to music as that of Christchurch, it was not necessary to say anything in laudation of music. He would simply try to show that it might be so used as to prove a valuable instrument of intellectual and even moral culture. Music was by courtesy the “divine” art, and might even claim that title of right. In comparison with the other fine arts—painting, sculpture, and architecture, it must be allowed superiority because whilst they were imitative it was creative. The simplest Psalm tune which embodied a musical idea, was an absolute creation. Music was divine also in respect of its origin. It was a clear gift of God. The vibration of a stretched string gave forth a musical note. If shortened by one half its length, it would give forth another note the replicate of the '.first, but in a higher pitch, and between these two there was the ladder of melody known as the musical scale. Who devised that ? Not the devil assuredly, nor yet man. Man found it contrived ready to his hand. Almost all substances were capable of yielding musical notes. Stranger than this, man himself was a musical instrument The organs of speech were also organs of music. In view of such facts they might regard music as a gift of the Creator. Everywhere God was calling to them to cultivate this gift. In the song of birds, in the boom of the surf, in the rippling of streams, in the majestic roll of the thunder, as well as in the mysterious spiritmusic of the -Eolian harp—touched by no mortal finger—God was saying to them—The world is full of music, —sweet sounds are imprisoned in all material things ; set them free; learn the laws which govern them and make the life glad with song ! This gift of God’s was bestowed, like all others, that they might profit by it. He would touch upon one only of the many advantages which the cultivation of music would confer. It would develop the artistic sense, would bring the man into sympathy with the spirit of beauty which pervaded nature. The world was full of beauty, but few had eyes to see it. The Greeks had a quaint conceit about the “music of the spheres.” The motions of the heavenly bodiesthey thought produced the most exquisite music, but it was inaudible to men, because it had been sounding in their ears from their birth. The same notion was expressed in a well-known passage by the great English dramatist: —

“ Sit Jessica. Look how the floor of heaven Is thick inlaid with patterns of bright gold. There’s not the smallest orb that thou behold’st, But in his motion like an angel sings, Still quiring to the young-eyed cherubims. Such harmony is in immortal souls ; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it.” This inability to sec and hear tke beautiful was lamentably common. There was a base utilitarianism, in the view of which Niagara was but a mill-race not properly turned to account. The flowers of the field, so much fodder for oxen, and the very stars of heaven, only the stock-in-trade of the almanac makers. This was the spirit which, in their own city, was about to perpetrate that gross Vandalism—the straightening of the Cathedral square roadway. They had just one line of beauty in the city, and that was to be swept away. It was a gross instance of what Matthew Arnold called “ Philistinism.” The men who were anxious to straighten that roadway would probably straighten the river Avon if they could; would reduce it to the dreary uniformity of a canal or the Ferry road drain, and would cover it with coal barges. He hoped that the Cathedral would be built, wherever the money came from ; it would be an ornament to the city, but he hoped on (esthetic grounds that the roadway would be left as it is. Mr Fitchett then proceeded to show how the cultivation of music would develop the artistic sense. If any man cultivated music, music would cultivate him. Music as an art afforded the opportunity of this cultivation more readily than any other. All the housepainters in Christchurch could not reproduce a Claude or a Turner, but any company of musical amateurs could reproduce a chorus which might be as truly a gem of art as a painting. He referred, in closing, to the story of Orpheus, who constrained by his lyre rocks and trees to follow him. It was not too much to hope that the music they had heard would charm the money into the collection plates. On the conclusion of this address a collection was made, with the result already stated. The second part of the musical programme, which comprised selections from “ The Messiah,” was then proceeded with. The overture did not go well, rather bad time being observed in the first movement, whilst in the second movement the instruments all seemed to be straggling. The chorus “ Behold the Lamb of God ” was very well done, time and precision being alike good. The solo “ Ho was despised ” was not sung so well in some parts as we have heard from the lady to whom it was entrusted, but ip other points it was very well given indeed. The solo, “ But Thou did’st not leave,” was fairly given. The chorus, “ Lift up your heads,” afforded considerable enjoyment, the time being good, both with instrumentalists and vocalists, ami the volume of sound being well sustained by the latter. The solo, “ Why do the Nations,' 1 was taken rather slow, but otherwise the rendering was very truthful. The accompaniment by the violins was remarkably well played, and we could not but notice the bowing of Mons. Fleury. “The Pastoral Symphony” was rather unsteadily taken, but on the whole was a very enjoyable piece of instrumentation. The solo, “ Thou shall break,” went moderately, and the final item, the “ Hallelujah ” chorus, was very effective. Before concluding, wo must do Mr Landergan the justice to state, that he conducted

•with great skill throughout, and that the general results achieved in carrying out the programme are strong proofs of the care and labour he must hare devoted to the preliminary rehearsals. To Mr Bun/., as leader of the orchestra, praise is also due. As usual, he was all that could be desired, and fully maintained his reputation in such matters. On the motion of Mr Garrick, a vote of thanks was accorded by acclamation of a very hearty character, to the ladies and gentlemen who had taken part in the musical portion of the programme. A similar vote to the chairman terminated the proceedings/ It should be mentioned that the Kaiapoi visitors, who numbered upwards of 100, came down and returned by special train, whilst the Lyttelton visitors took advantage of the usual late train on Thursdays, In connection with the programmes circulated during the evening, balance sheets of the Durham street Church account and the Christchurch circuit account were published. The former showed that the receipts from all sources during the year had been £100:2 17s 8d ; and the disbursements, including liquidation of a debit balance from last year amounting to £96 6s 2d had been £llsl 7s Bd, leaving a balance of £BB 10s due to the treasurer. For the circuit fund the receipts had been £539 17s 9d, and the expenditure £833 lls sd; leaving a balance of £293 13s 8d duo to the circuit stewards.