HARMONIC SOCIETY

Nelson Evening Mail, Volume 80, 7 August 1945, Page 3

HARMONIC SOCIETY

ANOTHER MUSICAL REVIVAL ORCHESTRAL AND CHORAL WORKS ENJOYABLE CONCERT IN SCHOOL OF MUSIC In line with the increased interest being taken in musical performances in Nelson is the revival, after six years in recess, of the Nelson Harmonic Society. The society has a worthy tradition of choral and orchestral work behind it and in spite of the wet night the School of music was almost full last evening for the first concert of the re-formed orchestra and chorus. Both were under the conductorship of Mr T. J. Kirk-Burnnand who, working under many difficulties associated with a recommencement after a lapse of years, has brought both the instrumental and vocal sides to the stage when they can present to the public good music in a manner that is very creditable to combinations of such size. To say that there is room for improvement is disparaging neither the conductor nor the performers, and the audience last night was given an enjoyable programme of a type that has not been heard locally for a number of years and one that was genuinely appreciated.

The main choral work, “The Banner of St. George,” by Sir Edward Elgar, had the breadth, dignity and pomp found in many of Elgar’s compositions, with majestic touches in the treatment of the orchestral arrangement. The choir told the ballad dramatically, with the orchestra giving further colour and emphasis. The choir, though reduced in numbers from that of former years, was quite strong in the volume of its singing, and very definite and forthright when necessary. The motive of the wellknown story of St. George and the dragon, summed up in the lines, “Where the strong the weak oppress, Where the suffering succour crave, Where the tyrant spreads distress, There the cross of George must wave,” is here set to music that is rich in harmony and strong in contrasts of moods. The rendering gave satisfaction and earned warm applause. Stated to be in commemoration of the victory in Europe, the choir also sang “Te Deum Laudamus” (Jackson). The well-known anthem was sung brightly and in a clear, straightforward manner appropriate to its style. Miss Glen Carty at the organ was a capable accompanist.

It was encouraging to hear a full orchestra once again in Nelson other than over th e radio. Again, it had its limitations in size and range, but it was able to meet the demands of the compositions chosen and did not lack body and the colour of instrumental parts. The orchestra is to be congratulated on presenting a Haydn symphony, both for the choice and the way it was played. It was a happy selection for such a concert. It has been said that Haydn was the first to put a mood into the symphony but he has a serene profundity of his own, and at the same time a joyous abandon. One of the four movements was omitted, but in the other three the orchestra was bright and spirited and many of the parts were distinctly charming. Something of the same old-world flavour was found in the orchestra’s opening number, “A suite of music (in the Old English style),” by John Foulds, though it was written only 20 years ago. The two pieces were “The King’s Pavan” and “Ayre (for Buckingham.”) There was 3 nice balance of tone and an absence of “brassiness.” There was not quite the same finish in “Ein Albumblatt” by Richard von Wagner, but the colour of various instruments was brought out with pleasing effect. Mrs Aileen Vaughan was leader of the orchestra, and Miss Vida Wilding pianist. Two soloists were included in the programme. Miss Jeannette Harley, soprano, showed herself to be the possessor of a voice of pleasing tone and the ability to use it, as well as a good stage presence. A little more feeling and fire would make this singer’s interpretations even more artistic, enjoyable though they were. That excepted, there was little to criticise and much to praise m h singing of “The Enchantress,” by J. L. Hatton, and the encore “The Poet's Life” (Elgar).

The other soloist was Mr George Wilson, tenor. He proved the flexibility of his voice in an aria from “The Marriage of Figaro” by Mozart, entitled “Now your days of philand’nng are over,” but the audience though appreciative of his skill, had a better chance to judge the resonant quality of his voice in the two encores, “Invictus” (Huhn). and “Gentle Maiden” (traditional Irish air). His style was animated and artistic.