THE ORCHESTRAL SOCIETY.

New Zealand Herald, Volume XLIV, Issue 13454, 5 April 1907, Page 6

THE ORCHESTRAL SOCIETY.

FIRST CONCERT OP THE SEASON,

The seating accommodation of the Choral Hall was fully taxed last evening, when the Orchestral Society submitted its first program mo of the season, The list ot works performed included lor the most part compositions of considerable difficulty and an ambitious tendency. A precedent wae moreover established in the career of the society by including in the second portion of the programme only compositions of prominence by that great master, Richard Wagner. The tendencies of the .society arc undoubtedly in the direction of scaling great musical heights, and as the season further advances subscribers will no doubt be treated to an even more finished interpretation of some of the numbers than was possible ; .< | a ,j • night's concert. The individual executants will have warmed up to their work more thoroughly, and will doubt l»- even more in accord with their conductor's high ideals. tteneiully speaking, Heir Johan . Wielaert i- to lie congratulated ipon the results achieved last evening. His attention to details of traiudtion and iccent, as well as delicacy of finish are b; this time proverbial, and these re 'ilts a.- achieved in such ■■ manner that t "ic. mo e majestic lines of the works peril lined arc seldom obscure!. The first part of la.st night's p ogramm© container) a splendid orchestration of Franz Liszt's " Hungarian Bhapsody," No. 2. This is familiar to most musicians as & pianoforte solo of great technical difficulty, but at the concert under notice it, was performed for the first time here by an orcjies. tta. More rehearsal will in th • future make some of the players mora conversant with tin requirements of their parts here and there. There is no need to niter that last night's rendition was one of doubtful success ; on the contrary, it. was full of promise for inline presentments of this tine work. In the opening "Lento" the main motif was in the hinds of the violins, violas and clarionets, and the responses Indie brass-wind conveyed the necessary impression. The " Andante Mesto" involved some clean technique by the strings, and special mention may he made of the cadenza passages by the clarionet, The turn to the "Lento" movement was effectively given, though the "Adagio"' portion with its gradually receding tone force was lacking in (leanness of interpretation. The "Vivace" portion was successfully inaugurated by the oboe, in the principal theme, to an effective accompaniment by the first and second violins. From hern onward some tine effects were obtained, the violins in their staccato semiquaver passages being gradually augmented in volume by the wood-wind, until the "Tempo Giusto" section was reached. From here the gradual diminution of tone power participated in by the wood-wind and strings playing in detached stylo was convincing. J lien came the forceful passages on unaccented portions of the bar, by the 'cellos, bassoons Mid clarionets. From this point onwards Heir Wiehtert's reading of the work was generally in accord with accepted Hungarian traditions, the aeeellciandos ill particular being most effective. The introduction of the second subject by the violas, 'cellos, and bassoons was appropriately given, while the subsequent repetition by the violins and high wood-wind was a fine effort. From this stage some splendid effects were obtained, the rushing crescendos and diminuendos giving the impression of a, whirlwind of tone sweeping the hall. Great precision marked the playing of the final "Prestissimo," and in response to loud and prolonged applause the latter portion of the work was repeated. Delibe's " Naila" proved most dainty, and some pleasing effects were obtained by the muted strings, while the wait/, rhythms throughout were played with a persuasive wiavity of tone. Svendsen's "Borneo and Juliet" gave scope for much expression, and the ever-recurring chromatic themes were given with 'leanness and precision, and . the tempestuous climaxes were forcefully rendered Favourable mention may also be made of the way in which the' delicate orchestration of the subdued finale was handle,:.

The Yorspiel to Lohengrin" (Wagner) opened the second part of the programme. Beginning and ending with an almost ethereal quality of tone by the strings, it was artistically given, and the "Grail" theme as presented by the instrumentalists provided a distinct outline against the evermoving background ol orchestration. Another first performance was the "Siegfried Idyll" (Wagner), and this line work, embracing principal themes from the opera "Siegfried," was listened to with <'<'.<• attention. The finious "Tannhauser" overture—one of the society's .tailing efforts—-brought the conceit to .1 sujce6*fal conclusion.

Miss Kditli Whitclaw, L.R.A.M., war a most efficient leader throughout. fadame Cecilia Staunton, who was suffering fri.m a severe cold, involving an almost total e-s of voice, was unfortunately uiiable to appear in the vocal numbers, unci her place was at the last moment taken by Madame Wielaert, whose finished interpretations found favour with her numerous hearers, the singer being recalled in each instance. Her numbers were " Lo! Here the Gentle Lark" (Bishop) and "Good-bye" (Tosti). In the first of these the flute obligate vat* skilfully played by Mr. 0. K. Poore, who also lent valuable assistance in the first recall number— Gounod's "Serenade." The next, concert is announced for June 6, when Tschaiko\v.«kv's famous "Symphonic Pathetiquc" will be given for the first time here.