Tudor Singers Delight With Choral Work

Manawatu Times, Volume 63, Issue 179, 1 August 1938, Page 11

Tudor Singers Delight With Choral Work

AND DEMONSTRATE CHARM OF OLD ENGLISH MELODIES

The Palmerston North branch of the British Alusic Society is deserving of the grateful thanks of the music loving public in providing evenings of real musical enjoyment at its concerts and never more ao than in the programme presented on Saturday last by Mr. H. Temple White’s Tudor Singers in the Rosco tea rooms. This talented Wellington group of twelve selected vocalists, three each of sopranos, contraltos, tenors and basses, demonstrated the perfection of choral singing in a delightful programme pleasingly diversifled. They brought to the audience the loveliness of music of centuries ago, particularly the group of unaccompanied madrigals of the 16th and 17th centuries, and a cycle of old English melodies introducing a catch written in canonical form, ‘‘The Pedlar,” after the style of a round. Admirably controlled by their conductor, Air. H. Temple White, the singers infected the audience with the gaiety of their music or again with tho solemnity as befitted the character of the works presented. The quality of tone maintained, whether in pianissimo passages, occasionally the merest whisper, or double forte, at times rihh and colourful as a full choir, was always impressive, and also the delightful musical effects achieved whether as accompaniment or chorus to tho solo parts that were Interspersed in many of the selections. Tho Tudor Singers comprised:— Sopranos: Alario Burgess, Olive Laurenson, Alyra Sawyer; contraltos: Kathleen Bond, Beatrice Dawson, Joy Sutherland; tenors: Arthur Clark, Herbert Gardiner, Leo Irwin; basses: William Broadman, Russell Laurenson, Cecil Svensen. Conductor, H. Temple White. The programme opened with a group of madrigals sung unaccompanied, which immediately brought to the audience the realisation Of the rare treat that was. theirs. These numbers comprised “ Pretty Swallows” (Claude le Jeune, 1552-1002); “Awake, Sweet Love” (John Dowland, 1563-1626); ‘‘Lady, Your Eye” (Thomas Weelkes 1570-1623); ‘ * April is in My Mistress Face” (Thomas Morley, 1557-1603) and “Now is the- Month of Maying,” also by Morley. Then followed love verses from - The Song of Solomon (Percy Grainger), probably heard for the first time by most of those present, in which the soloists were Myra Sawyer, Herbert Gardiner and Leo Irwin, the accompaniment being enriched by a piano duet in which Audrey Gibson Footer and Agnes'Duncan were associated. Of particular interest was tho presentation of “Faery Song and Faery Chorus” (Rutland Bought on), a delightful excerpt from tho music-drama

“Immortal Hour.” This served to present as soloist a fine tenor in Arthur Clark, who demonstrated excellent control in mezzo-voice and the necessary lyrical vocal qualities. Air. Clark had the privilege of taking part in this work in England under the conductorship of the composer. Rich in tonal colour was the composition “Arabia” from “»Songs of Enchantment,” by Armstrong Gibbs, a difficult work with quaint harmonies typically Oriental in its conception, and enhanced by Miss Sawyer’s presentation of the solo. Concluding the first half of the programme was ‘ ‘ Flora’s Holiday, ’’ a cycle of old English melodies by 11. Lane Wilson, providing opportunity for further lovely solo and choral work, as follows: —- Chorus, * 4 Come All Ye Lads and Lassies,” soprano solo, Marie Burgess, “Love’s Greeting”; tenor solo, Leo Irwin, “Tell Me, Charming Creature”; chorus, “Gentle Dawn”; chorus, “Country Dance”; contralto solo, Beatrice Dawson, “Maidens Beware Thee”; baritone solo, Russell Laurenson, “Sound Argument”; catch, “The Pedlar”; chorus, “The Commotion of Love.”

The first offering of the Tudor Singers on the second half of the programme was “Wind Flowers,” a cycle of choruses, solos and duet, typical examples of Arthur Somervell’s melodious works and introducing further pleasing soloists. Tho numbers were: Chorus, “Twist Ale a crown of Wind Flowers”; chorus, “High. Over the Breakers”; contralto solo, Kathleen Bond, “The Wind Has Such, a Rainy Sound”; chorus, “Hope is like a Harebell”; soprano and contralto duet, Olive Laurenson and Kathleen Bond, “Two Doves on the Self-same Branch”; chorus, “Music When Soft Voices Die”; tenor solo. (Herbert Gardiner) and chorus,

/ 1 When a Mounting Skylark Sings”; chorus, “Going to Bed”; bass solo, William Boardman, and chorus, “Windy Nights”; chorus, “Finale.” The music was set to words by Christina Rossetti, R. L. Stevenson, Sidney Dobell and Shelley. A moving contribution was “The Angel’s Farewell” (Elgar), the final number from the oratoria “The Dream of Gerontius” which has a choral background of souls in purgatory and angeleals. Beatrice Dawson’s melodious voice was admirably suited to the solo part. Air. Temple White’s own composition, “Ave Maria,” followed and the excellence of the rendition of the composer’s fine effort brought a spontaneous tribute from the audienot and a repetition by the singers. One of the most popular items of the evening was “The Merry Wedding,” a choral dance by Percy Grainger, which concluded a notable programme. In addition to the choral works, vocal solos were contributed by Myra Sawyer and Russell Laurenson and piano solos by Audrey Gibson Foster. Miss Sawyer is a warm favourite with Palmerston North audiences and she further enhanced her reputation by her brilliant interpretation of 11 Shadow Song,” the famous waltz song from Meyerbeer’s “Dinorah,” which she sang with joyous abandon, revealing the amazing flexibility of her voico and clarity of tone. In responding to an emphatic recall Miss .Sawyer gave Lassen’s appealing “In Thy Blue Eyes,” which she sang with rare delicacy of feeling. Mr. Temple White was her accompanist. Air. Laurenson’s welcome choice was the famous aria, “Largo al Factotum” from “The Barber of Seville (Rossini), the baritone’s test piece, in which this fine vocalist proved himself equal to the exacting demands for exceptional agility both of voice and diction. The artistry of Mr. Laurenson. was further demonstrated in “The Wanderer” (Schubert), which was in striking contrast to the first offering, and revealed the rich sonorous tones of his voice and great depth of feeling. Miss Foster proved herself a brilliant executant and her interpretation of “Italian Concerto” (Ist movement), Bach, and “Concert Study in D Alinor” (Liszt), particularly the latter, made a fitting contribution to the evening’s pleasure. Recalled, Miss Foster further delighted the audience with a Chopin “Impromptu." The accompaniments as artistically provided by Audrey Gibson Foster, assisted by Agnes Duncan, were a feature of the evening.

Following the concert the performers were entertained at supper by the committee at the residence of the president. Dr. F. H. McDowell, Worcester street.

That New Zealanders should not lean too heavily on the financial help given by such men as Lord Nuffield was urged by the president of the Southland branch of the Crippled Children’s Soci ety (Mr G. F. Griffiths) at the annual meeting. He said that Lord Nuffield had done society a wonderful service in his generous donation to the cause of crippled children. The matter, however, should not rest at that, for New Zealanders should rise to Lord Nuffield’s example, and give generous help themselves, so that the Dominion could feel that it was ably responding to the lead given it.