“DAY AND NIGHT”

Manawatu Standard, Volume LII, Issue 307, 25 November 1932, Page 12

“DAY AND NIGHT”

PRESENTATION OF CANTATA. CUBA STREET CHURCH. During recent years the choir of the Cuba c-reut xueuiodi'st (Jtiuich have piOdiiced many hue. cantatas, but the rendering or tiieir latest piece, jNiciiois "Day ana wight," saw uieui gaiu lresh iionoura lasi. evening when a splenaid rouuition 01 the wo»k was given. it was uuiortunate tnat the uoisterous weauier adversely anecteu ill© size of tne congregation, -lor it was produced in a manner worthy ot U rull church. Jbor many nroiims, the cnoir, witu the assistance oi several oilier well-known smgeis, have been preparing lor tlie presentation and the finished renditions bore unmistakable evidence ot assiduous study ot tlie work ana attention to the interpretation 01 tne various passages. iiie strictly cnoral portions »ere strikingly rendered and tlie richness and stieiigtii at tlie command oi the singers was very impressive. ±-errect bamnce was maintained uuoughout by tne iso members — 'm'A lauies ana io gentlemen—ana the liglic ana shaae ot tne more dimcu.it passages was magmhcently empnasiseu. i. ne choir were unaer perlect control 111 every phase. Particularly attractive was the solo work ana in eacn ot tne tour cases the singer nanuled the piece with skill. Miss R. linen had tne soprano part aud the range ot lier voice was impressive, blie slioweu no sign ot eirort, but attained tlie highest notes witli an ease that was as ret resiling as tire constant sweetness ol her notes. Mrs Coupe took tne contralto solos witli mariied success. tier tieatment ot the tlieme was sympathetic to a degree' and the soft mellowness of her voice was admirably suited to tlie music she was required to interpret, the bass solos were most capably bandied by Mr A. J. jUc.L,eavey. 'l'll* possessor ot a voice of strength and range, he rendered his solos witli a triK-ness that was very apparent and obtained the greatest possible colour from the pieces. To Mr Leng were entrusted the tenor solos and ne bore his responsibilities in a splendid manner. His renditions were impressive because ot the quality of sympathy which he imparted to them. The instrumental side of the cantata was handled with particular success and the singers were accorded the most sympathetic of accompaniments. The pipe organ obbligatos were presented with beauty by Miss R. Simmons, who negotiated the most difficult passages in a masterly manner. Miss E. Tonkin bore responsibility as the pianiste and her solo work was admirably executed, while her accqmpaniments maintained a splendid degree of sympathy despite her constant playing. The success of the cantata undoubtedly was due to the thorough training imparted by the conductor, Mr H. T. Pitcher. For many years he has produced such works, but his efforts have never before borne fruit so successfully. He had perfect command of the choir throughout and is to be congratulated on the success achieved.

Summarised, the presentation, ■which lasts a little over one and a half hours, has the following theme: It opens with an instrumental movement descriptive of sunrise, which is followed by the chorus, “Lord of All Being,” setitng forth the glory of the Maker of the sun. The wanderer (tenor), troubled in his heart about many things, has been watching the dawn and, impressed with its beauty, breaks into song with “The Morn is Breaking,” the closing words of his utterance being taken up by the chorus, “Speed Forth Thy Way.” The children running to school suggest thoughts of the loveliness of childhood as set forth in the soprano and contralto duet, “Come to Me, 0 Ye Children” (Longfollow). The wanderer finds the reapers and gleaners at work and after a short double chorus. “Out in the Golden Fields,” “Praise Ye the Lord,” a reaper sings the bass solo, “There is a Reaper” (Longfellow), referring the great reaper, Death. After a quartette, “O Blessed is That Land,” the first part concludes with the chorus, “O Worship the King.” The opening movement of the second part finds the wanderer by the brook, whose murmur moves him to inward worship. The beautiful wi rds of tho twenty-third Psalm naturally occur to his mind and are set as a soprano solo, followed by tho wellknown hymn, “I Heard the Voice of Jesus Say,” and the contralto solo, “The Shadows Lengthen.” The song of tho reapor in the bass solo, “Now tho Toil of Day,” is followed by the choral evening hymn, “Hail Gladdening Light',” to which succeed the praverful verses of the contralto solo, “The Radiant Morn Hath Passed Away” as darkness closes in. Troubled in mind, tho wanderer chances to pass a village church (tenor solo, “Sweet Night”) and is moved to prayer by tho grand hymn, “In the Cross of Christ i Glory.” The evening collect, “Lighten Our Darkness,” follows as trio and he returns homo inwardly blessed (tenor solo, “I Will Lay Mo Down”). The contralto concludes with the great chorus, "The Spacious Firmament,” as the glories of the night spread above him and he seems to Hear tho host of Heaven, “Forever Singing as They Shine, the Hand That Made Us is Divine.” T _ At the conclusion. Rev. J. D. McArthur, minister of the Church, expressed appreciation of the good work of the organist and pianiste and paid tribute to that of Mr Pitcher for the perfect manner in which ho had carried out tho very fine work.