Amusements.

New Zealand Mail, Issue 177, 21 November 1874, Page 10

Amusements.

MADAME. ARABELLA GODDARD’S # farewell concert. The crowded attendance, and enthusiastic reception which greeted Madame Goddard on her appearance on Monday night at the Odd Fellows’ Hall, will, we trust, be long remembered by that lady as a proof that the people of the Empire City are not altogether so cold as is wont to be said of them. Indeed, it may be a source of unmingled pride to the great pianiste> to feel that at each successive performance her reception has increased in heartiness ; and from being somewhat cold and undemonstrative at first,° has reached to such a climax as to be nothing more nor less than a perfect furore, as was evinced on Monday evening, when the greatest of all attractions to a musical people was granted to a Wellington audience in the performance of Beethoven’s grand sonata op. 26, by Madame Goddard. The sonata opens with an andante in four flats (major), the theme of which is made the subject of five different variations, each of which has some speciality as regards the treatment it requires, to convey the idea intended by its immortal composer. The first and second variations are in the original key, and in the second, where the subject is given to the bars, with the most piano accompaniment in the treble, did the great charm of Madame Goddard’s wonderfully delicate and yet at the same time perfectly clear manipulation of the finger-board, charm all her hearers. The third variation is in seven fiats, the subject being treated in syncopation with the idea, one would imagine, of making it as difficult as possible, yet with all its intricacies the melody seemed to flow on just the same, in the same easy manner, and with as little effort to the great performer. The fourth variation returns to the original key, and is rather quicker in its interpretation than the preceding ones, which makes the bass accompaniment so extremely difficult, on account of being very much distributed over the finger-board, one bar written in bass cleft' and perhaps the next few alternately treble and bass. The fifth variation is slower and in the legato style, in which the theme is distinctly heard in the midst of a full, rich, and florid accompaniment. Having alluded to the different features of the variations, we will next take the funeral march, or as it is called in the text, “Marcia funebra sulla morte l’un Eroe.” Many of us, and specially amongst the audience assembled in the Odd Fellows’ Hall on Monday evening, have some time, or perhaps even too often, been affected by the sounds of the “Dead .March as it wound its dreary way to the burial "round, and have experienced sentiments which music alone (of this order) can awaken. Such were the sentiments experienced . on Monday, and in not only single instances did a tear find its way into existence as an unwelcome visitor. The allegro finale, which follows this wonderful march, seemed to be played -with the express determination to bring back the mind to its generally pleasant and happy condition, and dispel an almost unconscious sadness which creeps into existence, in spite of ourselves, and arouses in us that which would otherwise have been dormant, and of which we ourselves had not conceived the possibility of, or the existence of which we did not know. That Madame Goddard played with that mastery of skill—first to subdue her audience, and then, by the same means- differently employed, to release them, and lead them to such a climax, as was done at the end of the finale, shows what intense power she must have over all that is noble in music. The outburst of applause has not been equalled in Wellington, and the shower of bouquets quite perplexed the fair recipient, no sooner were they all picked up than another instalment took their places, and so for a very considerable time. The next piece played was the “Last Rose of Summer,” of which we have had the pleasure of writing before, as also of the grand Scotch fantasia by Brissac, both of which were encored ; and in response were given respectively Handel’s Harmonious Blacksmith, with variations, and a waltz by Chopin. The last piece played by j Madame Goddard was a fantasia on the noble English airs “Rule Britannia” and “ God Save the Queen.” The same faultless playing was again delightful to listen to, and on the first chord of “ God Save the Queen” the audience rose one and all, and remained standing until the close of the performance, when, amidst cheers, cries of “Bravo,” “Well played, indeed,” and, in fact, all kinds of genuine approval, did Madame Goddard make her final bow to a Wellington audience. We are sorry to write “ final bow,” and it is to be most sincerely hoped that on her return trip she may be again induced to afford the people of Wellington another opportunity of showing their appreciation of her immense talent. Having dwelt at some considerable length on the greatf attraction of the concert, we must of necessity be rather more curtailed with reference to the remainder of the programme. Herr Doehler again played to the great satisfaction of the audience, and obtained an encore at the finish of his fantasia on “Anna Bolena,”

when he gave a burlesque piece by Mon?. Vieuxtemps, on the American air “ Yankee Doodle,” which was played with great execution, specially the harmonics. Mrs. Smythe created quite a sensation by her interpretation of “Robin Adair,” which has eclipsed all previous renderings of it in this city. Mr. Rainford sang in his usual proficient manner. His “ Heart bowed down” was extremely well rendered, and called to mind the time when the “ Trombone Obligato,” as played by Mr. Stoneham, of the English Opera Company, used to lend additional charm to Mr. Rainford’s fine voice. The song was vociferously encored, and “My Old Friend George” was given as an encore. Mr. Skinner sang his solo, “ Thou art so near and yet so far,” with great taste, although seemingly suffering from nervousness. The remaining trios and duets were sung with great care and attention. As regards the audience, it may safely be said that all °the elite of the city were there, including the different Judges of the Supreme Coiu-t. In conclusion, we may be again permitted to express a hope that we may yet have an opportunity afforded us of hearing Madame Goddard once more.

THE CHORAL SOCIETY’S CONCERT. # “ PARADISE AXD THE PERI.” This long-anticipated concert came off on Wednesday night. The number of singers was large, though less than we have seen at recent concerts. The front seats were early filled by the elite of Wellington. Lady Fergusson, His Honor the Chief Justice, Judge Gresson, Judge Johnston, and Judge Chapman, honored the occasion with their presence. “Raradise and the Reri” is a cantata, the words by Thomas Moore, composed expressly for the Birmingham Triennial Musical Festival, 1870, by John F. Barnett. It was then very well received, and made a favorable impression that has since been sustained. The introduction was very carefully played throughout—the instruments keeping well together, giving the voices confidence, and leading them on to the first chorus, “ One morn a Reri,” in capital time. This was sung very well. “ Tho’ sunny the lake, ’ recit. and air for soprano, was a very pleasing change, and was very sweetly rendered, the sustained chord for instruments with the cadence for the voice, as written, would have been more pleasing than the piano taking up the voice part. “ Go, wing thy flight ” and “ While thus she mused ” were the more pleasing choruses of the piece, the time in both was very good, though expression was sadly wanting. “ One hope is thine,” recit. and air for contralto, was very well sung by a lady who has often delighted the public with her pure young voice. Next came the aria for the soprano, “ But whither shall the spirit.” Without any very taking melody this aria falls very tame, on the audience, but was very well sung. “ ’Tis he of Guzna,” recit. for tenor and bass, with chorus—a very stirring piece, descriptive of bloodshed, rapine, and murder —seemed very near a collapse, the instruments having rather a scramble for the first place ; they rallied when the voices joined in, and all went well to the end. “ Yet marked the Reri,” recit. for tenor and bass, -with chorus of female voices, was got through without any waverings. “ Be this, she cried,” a solo for soprano, was taken by a tenor voice, and not satisfactorily. The most pleasing tenor solo, “ Oh, if there be on this earthly sphere,” was entirely marred by one or two of the violins not being in tune. “ Sweet said the Angel” (contralto arietta), was sweetly given. This, followed by a chorus, sadly wanting in expression, ended the first part. The second to many seemed more enjoyable than the first. Two quartetts (one, unaccompanied, was deservedly encored), were very well received, and very well sung. A duet for tenor and soprano, “ O let me only breathe the air,” was very pleasingly given, but the tenor ran away with the expression of the words “How little did he think,” which in the libretto are marked con dolorc, and. not vivace. But the choruses, “ Morn is blushing” and “ Now behold him,” and the finale, “ Joy, joy for ever,” were capitally given, the latter being much relieved by solo, quartett, and alternate full chorus and solo. The grand finale of the solo in the second part, “Blest tears. of soul-felt penitence,” for bass, has a very plaintive and telling melody. Only for a roughness of voice from recent cold this would have taken well. A little more attention to expression might have compensated for the failing in voice. The tenor solo, “ Now upon Syrians land of roses,” was very well. sung. Here again the instruments, or some instrument, was not in tune, and some of the piano parts in this were so strictly observed that the voice was not heard for two bars at a time in many places. “ Sleep, said the Reri,” an aria for soprano, was well sustained in the first part by the lady, against a decidedly flat accompaniment on the violoncello. A contralto recit. and aria, “True was the maiden,” was very well given. Before the National Anthem was sung, Judge Johnston, in the name of the subscribers, complimented the Society for the great treat they had enjoyed, and on behalf of all present, tendered his wannest thanks to Mr. George Hunter for the magnanimous way in which he had furnished the Society until the use of a practice room, and given his hearty support. The National Anthem brought the proceedings to a close* « ■ ...-.i—.