CHRISTCHURCH MUSICAL SOCIETY.

Lyttelton Times, Volume LXV, Issue 7863, 19 May 1886, Page 6

CHRISTCHURCH MUSICAL SOCIETY.

Rossini’s “Stabat Mater.”

The large attendance last night at the Oddfellows’ Hall, when the Christchurch Musical Society gave the first concert of their series for 1886, bore testimony to the strong interest which still attaches to the performances of the Society. It may also be accounted for by the unusual attraction afforded by the production of Rossini’s « Stabat Mater,” which filled the second half of the programme. The first part consisted mainly of vocal items—-glees, madrigals and solos—the two more important numbers being the overture to Mozart’s « Cosi fan tutti,” and Mendelssohn’s first concerto, the piano part in which was taken by Mrs H. H. Loughnan. With regard to the overture, not much can be said in praise of its performance. Mr Towsey, the Society’s conductor, appeared to us to err on the side of slowness in his beat; the whole, though not altogether from that cause, dragged somewhat, and Mozart’s bright music suffered in consequence. The orchestra, who in this did not seem to have their task by any means by heart, brightened up considerably when they attacked the concerto, which was given with spirit and correctness, as far as they were concerned. Its beautiful melodies took everybody’s ear, and the manner in which the pianist performed her part gave evidence of such thorough study and such taste and facility of execution, that it was quite one of the features of the evening, and was loudly applauded. Mrs C. M. Gray sang Bamby’s well-known song, “ When the Flowing Tide Comes in,” with great feeling, and Mr Barkas narrowly escaped an encore for Blumenthal’s beautiful composition, “ Her Name,” one of his best, and very well sung by the soloist. Mr E. Cane was hardly as successful with Stainer’s “ Unbeloved.” Mr Towsey accompanied the singers excellently as usual. The best of the madrigals and glees was Webbe’s “When Winds Breathe Soft,” forfive voices; though “Down in a Flowery Yale” (Festa) and "My Bonny Lass she Smileth ” (Morley), two charming old sixteenth century compositions, were also very well done. The performance of the “ Stabat Mater ” must certainly have been a very pleasing disappointment to some of the audience, for doleful stories had been heard concerning the Society’s state of unpreparedness with regard to it. The orchestra, always the weak spot in amateur societies, was often rather obtrusive in the frequent double piano and sotto voce passages scattered about the many beautiful solo and concerted numbers for the four solo voices, but they got through the short introductory movement well, and gave valuable support to the chorus afterwards throughout the work. Plenty of practice is required, for the music is anything but of the simple oratorio order, but dramatic and brilliant, not to say secular, and more would decidedly have produced its effect. The opening chorus, “ Stabat Mater Dolorosa,” was well sung, the chorus leads being taken up steadily and firmly, and the soli being given with effect by Misses - Spenaley and Pender, and Messrs Piischell and Gard’ner, and the light and shade on the whole very well observed. From this good beginning the rest of the music, taken as a whole, went most satisfactorily. Mr Puschell sang the famous “ Cujus Animam” with much vigour and boldness, but, in common with most of his colleagues, seemed a little to miss the sacred character of the music. The orchestra in this were rather too prominent occasionally. Mr Searell gave valuable aid at the harmonium. The next number is the duet, “ Quis est Homo,” for two sopranos. Miss Spensley and Miss Pender being the singers. The former has never sung better, and the clearness and ease with which she overcame the many difficulties of the florid music, made it a great pleasure to listen to her vocalisation; Miss Pender seconded her ably, and the number would have been as near perfection as we are likely to get for some time in Christchurch, had the orchestra not made the same mistake as has been referred to already. Mr Gard’ner did not seem to be in his usual voice, but gave a bold and very acceptable rendering of “ Pro Peccatia,” and the succeeding solo with chorus, “ Eia, Mater,” much of which is very trying from the great range of voice required to do it complete justice. Thequartette “Sancta Mater,” in which Miss Jones took the contralto part, was one of the successes of the evening. Miss Spensley’s aid again being of the utmost value, especially in the high notes which occur with frequency in the soprano part. Miss Pender began her solo, “ Fac ut Portem,” apparently with a little nervousness, but sang it clearly and carefully, and succeeded better as the number progressed. The “ Inflammatus,” in which Miss Spensley again took the solo part in a way which showed her powers in a most brilliant light, was very good, the opening unisons of the chorus giving it a massive character. The difficult unaccompanied quartette, “ Quando Corpus,” was done most effect* ively, and the concluding “ Amen ” for the four solo voices and chorus went with a precision and energy, showing that with efficient drilling the Society is capable of grappling successfully with the most intricate of choral music.