THE CONCERT.

New Zealand Mail, Issue 1291, 26 November 1896, Page 32

THE CONCERT.

In the evening: the raro spectacle was presented of four composers conducting- their own music. Mr Maughan Barnettcame first with his overture specially composed I'or the occasion, Mr Adfredllill followed withthelong-expeetod '" fclinemoa," his setting of Mr Adams' fine poem, Mr Parker came third with his setting of the eighth Psalm, and Mr Tallin Trimnell came after him with his setting of the twentyfourth. It was a most excellent programme of music, varied and of great merit throughout, taxing the resources of singers and orchestra to the utmost. The only fault we have to find with the arrangements is that the press representatives, who ought to be placed where they can hear best, were jammed into a corner close to the platform, where, of course, they could hear worst. The two first numbers were contributed by Mr Maughan Barnett's Society, and the other two by the members of Mr Parker's Festival Society, and listening to them wo could not help regretting that the two had not combined for this supreme occasion. We must say, at the same time, that they did very well; and we will add that, had they combined, the resources of the management would have been taxed very heavily to accommodate them. It accentuates the fact that the number of capable musicians in Wellington bass lately grown very largo. The enthusiasm of the audience was very great throughout, and all tin: composers were called up for applause a.nil floral offerings. Subjoined are details of the four works. maughan bahnktt's concert ovketuck. 'J.'l.e overture commences with a short introduction constructed on a dominant pedal point. Starting p.p. it works up by a remarkable crescendo to the first principal theme, which is in E-minor. The first violins give out the melody, and are accompanied by the rest of the strings. The subject matter is bright and joyous. An episode follows in which the wind instruments play an important part, then a tutti and the first theme is repeated grandioso. A clever modulation in the dominant key succeeds, and then the second subject (a truly beautiful melody by the way) is introduced by the clarionet, the strings accompanying. The strings continue the melody, and then a novel departure from the usual methods takes place, in that the second subject is here developed instead of later on at the working out section. A climax is reached, and then the; .second themo is repeated jVriu in conjunction with a counter-melody in the flutes and clarionets. The fust section finishes in the mediant. In the free fantasie, or working out section, the first subject is mainly developed, but towards the end some striking effects are produced by means of the second theme in augmentation. Prom here to the close of the work the form of the overture is strictly adhered to, and the work ends joyously. The audience was captured at the outset, and held from first to last. HINEMOA : MESSRS IfliL, AND ADAMS. The leit motif of " Ilinemoa " is a genuine Maori melody, a lament which is sung by one of tho Native tribes of the Poverty Pay district. This melody opens the cantata. It is

given out with striking effect in the opening bars of the prologue as a passage for the flutes, and it afterwards appears continually throughout the work, until it is sung by Tutanekai as a solo. The prologue is sung as a bass solo, and describes the cantata as a story older than the ages, because it tells of love. A chorus follows of Maori maidens singing the praises of Hinemoa, and then comes a very effective solo for Hinemoa (the soprano), who sings a reverie as she wanders by the lakeside, the effect of the rippling of the water being admirably given by the stringed instruments. Next is heard a splendid war chorus. The tribes of Hinemoa and Tutanekai are at war, and this is pourtrayed _ in the stirring "Eaha!" chorus, which is highly dramatic, the fully scored and appropriate accompaniment heightening the effect in a very marked degree. The Avords, as will be seen, are adequate to the spirit of the scene : On the breast of the tempest is borne thro'

the land The spirit of war with his ravening hand, With his wide-waving pinions the faction is fanned, And peace is no more.

There are murmurs and rumours that ride

through the air And love has no place—there is hate every-

where. And the blood-hunger wakes, and the still pulses btir, And the word is for war! And tribe against tribe in fierce battlo must stand, And love is no more

When the dreai spirit breathes on Lhe smouldering land And the wed is for war !

Tiki, the friend of Tutanekai, then appears in the story. He conies as a messenger to toll Hinemoa of the love of Tutanekai for ber, and tells her she must row across the lake, and that for guide Tutanekai shall play upon his flute. Then comes an orchestral interlude, descriptive of the flute of Tutanekai sounding across the water, playing the melody which is the motif of the work ; and Tutanekai sings his solo, set to this melody, and in words of exquisite tenderness. This is the beginning of a dramatic soena, which is one of the most striking episodes of the cantata. Hinemoa, who has stolen down to the water, hears the flute on the other side, and searches for a canoe to row across to her lover, but in vain, for all the boats are beached. A chorus of fairies is heard inspiring her to swim across to Tutanekai, and the flute song comes with the same inspiration. She plunges into the lake, and the chorus of fairies continues, to an accompaniment suggestive of the rippling water, of breezy effects of wind and wave. Tutanekai is expecting her in a canoe, and, discerning the strange form in the bushes, goes down to fight the intruder, and discovers Hinemoa. A duct, a marvellously moving love duet, between Tutanekai and Hinemoa, arises delightfully, and is followed by a fine chorus of rejoicing to appropriate music.

The legend of Hinemoa offered many difficulties for treatment in cantata form, but the great variation in the legend as told by different narrators enabled Mr Adams to choose that form most suitable for treatment as a cantata. 'I ho work is not a Majri cantata, but a cantata founded on a Maori legend. Mr Adams acknowledges much help received from Mr Edward Tregear and Mr Hone Heke. To the latter the work is jointly dedicated by composer and author. It is a beautiful poem, set to music simply delicious and richly, in places very heavily, orchestrated. It was very well given by Mr Maughan Barnett's Society, under the baton of tho composer, wielded with great verve and minutest care. Madame Carlton sang the music of Hinemoa, which is by no means easy, with great sympathy and artistic phrasing of the beautiful melodies which abound. Mr H. Smith,|of Dunedin, had the music of Tutanekai, and with his fine, string voice and open stylo gave it very acceptably. The great duet between the two was very well given indeed, brought down the house, and had to be repeated, as was the case with several of the numbers. The orchestra, with Messrs ITotop and Spackman as leaders, and Miss Hatherly as harpist, with a very fine part, did very good service. At times the heavy orchestration was too strong in the triumphant passages, but that is not to the discredit of the orchestra. It would have been better if all tho singers and instrumentalists had combined to produce this fine work, which we hope to hear again. We make no doubt that we shall hear of great success to Mr Hill elsewhere when it is produced, according to arrangement made, in the Australian centres. The talented composer could not have a better introduction to the world, and when ho gets access of reputation his collaborator will not be far behind with his beautiful thoughts, his pleasant imagery, and his melodious verse. mr parker's eighth psalm. Mr Parker contributed a grand setting of tho. Eighth Psalm (" O Lord our Governor ") for solo and chorus. It begins with ;b noble chorus on tho opening words, strong, deep, massive, intense, in which tins bY.stival choru*, with its orchestra, fairly revelled. A trio for female voices follows, devotional in character, beautifully harmonised, with occasional choral accompaniment subdued o.nd full. It was welliriven by Misses TJpham, Haineiton and Pownall. The next number is orchestral, an '* Intermezzo," which maintains tho solemn, prayerful character of the composition. A solo for baritone (" When 1 consider the Heavens") succeeds,grandiose, broad and dignified; it was specially written for Mr Prouse, who sang it magnificently, the orchestra accompanying. The final chorus in the opening words, fugued in masterly fashion, was given with great power and point by the singers and orchestra. The Festival Society (under the composer's baton) made a splendid success of this fine music. MR t. trimnell's 24th psalm. Mr Tallis Trimnell's composition, the setting of the 24th Psalm (''The earth is the Lord's") ranks high amongst the many contributions Mr Trimnell has written in tho sacred form of music. Tho attention is at once arrested in tho bold and striking character of the opening movement, a choral recitative for the tenors and basses in unison ; after a few bars they are joined by the altos, and this movement is continued in three-part harmony. This number is followed by a broad and massive chorus, ' ; For He hath iounded it uuou the seas," highly oUggestive iu its treatment by the orchestra. A few bars harmoi-iised very neatly lead at once into a charming- little soprano solo, "Who shall ascend into the hill of the Lord"—short, but most devotional in character. Ad tho conclusion, of the solo three or four bars marked as •'pauses" deserve notice. The shortj an-

swering solo for bass, " He that hath clean hands and a pure heart," introduces the final chorus, "He shall receive the blessing from the Lord," written in fugal character until the climax is reached, when the whole of the voices join in unison for tbe finale, once more bringing into use the full power and strength of both orchestra and chorus. The work brought the original music to a delightful finish. Ihe combined societies sang the National Anthem with grand effect at the close.