CHORAL HALL.

New Zealand Herald, Volume XXVII, Issue 8375, 1 October 1890, Page 5

CHORAL HALL.

"THE WOMAN OF SAMARIA," AND

"THE DAUGHTER OP JAIRUS." The Auckland Choral Society gave last night its fourth and penultimate concert of the season, the works chosen for performance being two compoHitioiiß new to most of its performers, namely, Sir Sterndale Bennett's " Woman of Samaria," and Sir John Stainor's " The Daughter of Jairus."

"The Woman of Samaria" is a short one-part oratorio, styled by its composer a sacred cantata. It wan first produced at the Birmingham Festival on August 27, 18ti7. The work is written for four solo voices, chorus and orchestra. The soprano takes the part of the Woman of Samaria, the other parts being impersonal. The music for the contralto is mainly declamatory. The tenor has a single aria, while the bass, with one exception, has the part of narrator, the words of our Saviour being attributed to him, and invariably introduced in the third person. Tho chorus, as in the Passion music of Bach, has tho reflective numbers, and moralises on the various situations as thuy occur, except in ono number, " Now We Believe," when it declaims the words as a part of the narrative itself. The text for chorus is selected from appropriate parts of the Scriptures, which are in keeping with tho events forming the groundwork of its reflections. The story is taken from the fourth chapter of the Gospel according to St. John, and follows literally the narrative of tho journey of the Saviour into Samaria, his rost at Jacob's Well, hie meeting of the woman who came thither to draw water, and the conversation which , followed. " The Woman of Samaria," in style and treatment, does not appeal to the popular mind. It requires some knowledge of the resources of tho art as well as critical and discriminating attention for its full appreciation. In general construction it resombles very much the style of Bach, this boing most noticeable in tho treatment of the chorale, "Yβ Christian People," in the introductory uovement, where the composer combines the chorale with the orchestral movement in opposing rhythms, and in the air, " Who soever Drinketh," instead of full orchestra it is accompanied by the strings and first and second horns, reminding one of Bach's method of accompanying the part assigned to Jesus in his St. Matthew's Passion. The last number, " Blessed Be the Lord God of Israel," with its imposing fugue, in a fitting close to a work which is not only highly descriptive throughout, but also full of feeling and devotional reverence. " The Daughter ot Jairus," by one of the most prominent English composers, Sir John Stainer, is a cuntata for soprano, solo, chorus, and orchestra. It was first produced and composed expressly for the Worcester Festival of September, 1878. It consists of ten numbers, all of which are of a sacred character. The narrative is from the Gospels of St. Matthew, Mark, and Ltiko. It is a work of exquisite beauty, it in full of devotional feeling, and characterised by great finish and perfection of form and detail.

The principal vocalists were:—Miss Blea/.nrd, soprano ; Miss Battley, soprano ; Miss Pea ton, contralto ; Mr. W. Martin, tenor ; Mr. A. L. Edwards, tonor; Mr. Archdalu Tuyler, bass ; and Mr. A. C. McLean, bass. Miss Babtloy and Miss Featon, pupils of the conductor, made their first appearance at these concerts, and, generally speaking, created a favourable impression. Mis* Battley't.' voice, though not great in volume, is of a pleasing character. It was hardly heard to advantage, however, la.st night, as (•ho was suffering from nervousness. Miss Featon has a voice of h resonant and penetrating timbre, and when it i< more matured the lady will be an acquisition to musical circle.*. Her rendering of the solos allotted to her is most commendable, and must have been gratifying to her instructor, Herr Schmitt.

The first part of the concert comprised "The Woman of Samaria," and so that the performance would not be too long, and to bring it within the allotted time, two hours, soin») judicious omission. , were made, as follows :—The introduction with the chorale as far as the adagio movement, the choruses "Therefore, With Joy," "Come, O Israel," and " I will Call upon Tho Lord," and the air, " I will Love Thee O Lord." This beautiful aria would have been rendered, but that the orchestral parts were not to hand.

The adagio movement of the introduction by the bund opened the concert. This was followed by the opening recitative, "Then Cometh Jesus," sung by Miss Feu ton very expressively, though she appeared to bo very nervous. An arioso chorus, " Blessed be the Lord God," was splendidly led off by the soprano, but the second alto part was inaudible, whilst tho sopranos were for a time a little out of tune. Towards the close this was remedied, ami they recovered the true intonation. The closely harmonious chorus, " For with Theo iii the Well of Life," was very beautifully given, the contraltos appearing to advantage. The gradations of tone were well observed. Miss Battley was rather inclined to hurry in the solo, " Art Thou lire.iter." The next number, "Whosoever Drinketh," was sung by Mr. Tayler, but was not up to the perfection which he generally attains to, his upper notes being indifferent. The accompaniment by the strings and horns was very creditable. " 0 I.iord ! Thou Ha-t Searched Me Out," an exquisite solo, was sung carefully by Miss Featon, and was her best effort; but so fine a solo,, and one so full of tenderness and expression, requires a voice of further cultivation and dramatic power than hers possessed. At it» close Miss Featon was applauded. The beautifully constructed chorus, in six parts, "Therefore Shall They Come and Sing," went very brightly ; the tenor and alto leads were excellent, but the chorus was somewhat marred by one of the bass singer**, who made himself too prominent. An unaccompanied quartette, "(Jod is a Spirit," was impressively rendered. This piece lias a singular interest from the fact that it was sung in Westminster Abbey at the composer's funeral. In the chorus in solid harmony " Who is tho Image of the Invisible (jiod," tho choir ,-howed strength and power, but were inclined to drag. More attention should have been paid to the conductor's baton. Miss Harding effectively played the organ accompaniment. Miss Battley in the recitative, "Come See a Man," was her best effort. Tho feature of the recitative. "And Many of tho Samaritans," was Miss Featon's distinct enunciation. The marks of expression were observed with strict fidelity in the beautiful chorus, "Abide With Mo," and " Now We Believe," one of the most finished choruses of the " Woman of Samaria," was also acceptable. Mr. Edwards <ravo the only tenor solo, " His Salvation is Nigh." It was sung with care, and the orchestra played artistically. This number was decidedly tho best of the solos. Tho fugal chorus, " Blossed Be The Lord," was resolutely sung, and was a fitting close to this imposing oratorio. It is safe to say that tho Choral Society have never been heard to greater advantage than they were last night in Stainer's cantata, " The Daughter of Jairus." Tho. the tenor solos of Mr. W. Martin were distinguished by his customary taste and good judgment. The ardent and soulful song, " My Hope is In the Everlasting," he gave it as though he fully realised its meaning, and the audience recognised this, and applauded him loudly at the close of the piece. Miss Bleazard's performance was also a most conscientious one; her declamatory singing was in good taste, and her expression satisfactory. The duot, "Love Divine! All Love Excelling," was given with feeling and devotional reverence. Mr. McLean's voice is not of great compass, but it is of good quality ; it is, however, wanting in cultivation. His delivery of the recitatives was moderately successful, and the effect would doubtless have been bettor had he not been so confident. Tho choral singing was the subject of uniform praise The greatest feature of the choruses throughout was the attention paid to the marks of expression. To the performance of the orchestra the greatest praieo must also be given. There was a large audience present. The programme was ably conducted by Herr Schmitt and had many merits—above all, that of the rendering of the choruses, to which the fine choir supported by the orchestra did much justice. Herr Schmitt must have been highly gratified with the general performance of the works, for the Choral Society has rarely appeared to greater advantage. Mr. Edmiston, the secretary of the Society, deserves much credit for the management of the details of the concert.