THE MENDELSSOHN SOCIETY.

Lyttelton Times, Volume XXXVII, Issue 3566, 22 June 1872, Page 2

THE MENDELSSOHN SOCIETY.

. The programme of the concert last evening :by the members of the Mendelssohn Societyhad, evidently, been chosen with great care and skill. None of the pieces were long, but each was complete ia.itaelf, and, although there was great constituted.oneharmonious whole, - xhe selections, which comprised both yocahand instrumental music,were from the works of great composers, ancient and modem.

The first part, which was entirely devoted to sacred music, opened with the xhi. Psalm, with Mendelssohn’s rich setting of chorus, aria, recitatiVo, and quintette, and the magnifi-' cent concluding chorus " Why my soul art thou so vexed.” An instrumental composition for full band, “ March of, the Israelites,” from Sir Michael Costa’s'oratorio of “Eli” succeeded, and then came the anthem “ The wilderness, and the solitary place,” by Sir John Goss. This fine composition, in which the composer has availed himself largely of the marvellous effects that can be produced by recitative when skilfully employed, concludes with a chorus "And the ransomed of the Lord,” remarkable for its great beauty, and the consummate skill displayed in its harmonies. , Dona' rioihii: paeem, quartette and chorus, from Mozart’s First Mass, full of dramatic expression, and florid ornamentation, brought the first part to a close. : The second put, consisting of secular and sacred music, commenced with Cherubini’s overture “ Anacreon,” an old composition, not greatly' known 'here, but full of fine ideas worked out with marvellous ability; Two part sortgs, “Beautiful spring,” by Berger, and “Camovale” by Rossini, and tha duets, “ Zuileika and Hassan, ”, (Mendelssohn), “ Were I a bird, my love ” ind “ The fall of the leaf” (Schumann), were the vocal pieces in this part; the instrumental being a trio for pianoforte, harmonium;' and violin, from Flotiow’s opera of “ Martha;” Beethoven’s celebrated chorus, “ Hallelujah to the Father,” from the “ Mount of Olives,” replete with massive harmony, and characteristic of the composer; Whose works are the greatest monument td his memory, and denote him to have been a colossus of harmony—unappreached and an appropriate termination to a judiciously selected and as a whole well executed 1 programme. There was a large attendance, although the Oddfellows’ Hall, in which'.the concert took place, was not full. The orchestra, which was led by M. Fleury, who—in cdnsequenoe of an engagement which prevented, the attendance of Herr Biinz—undertook Sit task a# a very short notice and without previous practice, was arranged on the floor' in front of the ichorus, an arrangement strictly in accordance with the method prevailing in England. The choruses in “As the Hart Pants ” went well, particularly the final chorus “ Why, my soul, art thou so vexed ? ” The soprano aria “ For my soul thirsteth for God,” and the recitatives “My tears have been my meat,” and “My God within me is my soul cast down,” were correctly sung as to tune and time, but they lacked expression, and the words could not be distinguished. Such vocalisation is . like a setting of elaborately wrought gold, but the gem which would add, lustre to the whole is wanting. Very d>® eren<; were :the bass and tenor recitatives in the anthem/ 1 The wilderuessandthe solitary place.” In this the words were clearly articulated and due expression being given, recitatives were more telling than even spoken declamation. A trio, 1- Strengthen ye the weak hands,” for contralto, tenor; and bass was sang with fine effect, and the concluding chorus 11 And the ransomed of the Lord ” waa full of rich harmony. An unexpected treat prefaced the Dona Nobis from Mozart’s First Mass. The air Agnus Dei was sung by a lady with great pathos and expression; a little nervous at first, she gathered confidence as she proceeded, and the result was pure vocalisation with clear articulation and artistic expression. The quartette and somewhat jubilant chorus Dona Nobis which succeeded, were a fine contrast to the pathetic strains of the Agnus Dei. “ The March of the Israelites,” which was performed between the Psalm and the anthem, was good instrumentation. In the second part, decidedly the best vocal effort was the celebrated chorus “ Halleluiah to the Father,” the difficult fugue being taken with considerable precision. Rossini's part song “Carnovale,” was well sung, but the remainder of the vocal efforts were not up to mediocrity. A selection- from the opera of “ Martha,” introducing the air “The last Rose of Summer,” arranged as trio for pianoforte, harmonium, and violin, was much applauded, and the overture “ Anacreon,” with which this second part opened was spiritedly played. The conductor, Mr Parker, must have had a difficult task in preparation for thiaoonoert,ond the members or the Mendelssohn Society, will achieve greater success if they will practise ;moro earnestly, and pay greater attention to two essentials in rendering tha miuio of the great masters —expression, and clear tion.