THE FESTIVAL SOCIETY.

New Zealand Times, Volume LVIII, Issue 2859, 30 June 1896, Page 2

THE FESTIVAL SOCIETY.

Dvorak's “ Stabat Hater.” Dvorak’s music is in many respects marvellous. It has all the life, colour, originality and movement which characterises the music of the Czechs and Ziguonors, with whom he is allied in blood. A native of Bohemia, and instinct with music to his finger tips, ho has produced a work which reflects the character of his race. His “Stabat Mater” istho newest sotting of tho old Latin hymn, and a sotting remarkable iu many ways. lt_ has tho barbaric splendour of the East; it has caught and made melodious captive the spirit of the wild musicians, whoso untamable originality has defied composers, and reduced countless librettists to despair. It has been the fashion to believe that this wild music of tbe gipsies, so remarkable for unrehearsed effects, so strong in its defiance of rules, so powerful in its appeals to racial instincts, so remarkably popular in Bohemia and Hungary, both with the cultivated few and tho tumultuous many, was a thing above tbe roach of art; too subtle fou discipline, too original for the exigencies of harmony and the laws of counterpoint. This belief Dvorak has dispelled triumphantly with his admirable and most characteristic setting of the “Stabat Mater,” A shorty solemn overture introduces tho voices, which combine with the full power of the four parts in an indescribably pathetic wail. The tenor voice strikes iu, the chorus accompanies softly, the orchestration is rich, peculiar, occasionally massive, and then the “Cujus Animam ” comes softly on tho ear with strange wailing intervals, applied by weird orchestral effects, the reeds emphasising the effects. The soprano carries on the theme with “ O, Quam Tristis et Afflicta,” a soft, sighing choral accompaniment coming in at intervals, tho strings combining with and upholding the pure vocal effects extremely well, iu a fashion almost bizarre; which would have been almost outrageous iu the original Ziguener conception; but, disciplined by the art of the composer, rings true, with vast tenderness and pathos indescribable. A quartette, weird, solemn, funereal, follows, aud then wo have voices uplifting dramatically the phrase “ Quoe mterebatetdolebat.” They seom’to come out of the darkness round about Calvary, they give the full significance of the phrase aud tho following phrases; they people the gloom of tho surroundings with lamenting, sorrowing life; they suggest tho great incidents of tho crucifixion, the whole soeno is realised; the veil of the temple is rent, tho sepulchres give up their dead, tho refrain “ Stabat Mater ” dominates at last, and the first wonderful division of this great work comes to an end. We regret that want of space prevents us from going on with the details of the description. Wo can only indicate tho course of the work. The next four verses from the “Quisest Homo” are given to a quartet of voices, each voice leading in turn, tho accompaniment being chiefly wood aud reeds, with occasional pizzicato effects from tho strings ; the whole is an effect of aighings and languishes and great dramatic phrases. The “ Eia Mater” is remarkable for smooth canfahile passages, varying the acute note of grief that has hitherto prevailed, consolatory phrases begin to be heard, telling of hope and the life to come, and tho orchestration becomes solid and majestic without losing its richness and strange brilliancy of character. The “Fae ut Ardeat” is a mystic, solemn wail, in a curious of keys, a solo for the bass voice, accompanied with rarest and richest instrumental effects. The chorus which follows, “ Tui Nati Vulnerati,” is a change of character; like a < smooth, softly-flowing river, instinct with life and movement it is, not in character in a setting of “ Stabat Mater ” at all, but beautiful, taking music, which carries the listener away with its soft loading melody aud beautiful harmonies. And so after tho music gets back to the loading characteristic stylo the action goes on to tho final number. Tho “Quando Corpus” is a noble quartette ; tbe chorus accompanies it after a time with hushed, weird, moat devotional effects. Tho voices rise to tho fugue which follows—a truly grand Amen. And then wo have a wonderful new ■ effect. The fugue closes suddenly, a marvellous simple chorale rises in tho air, tho voices filling the place nobly without sound of instrument. A few bars of chorus follow, tho orchestra comes in crashing, and dies away softly, prayerfully to the close. A moat noble ending of a most uniquo, curious, devotional and extraordinary work. Tho choral work was done astonishingly well, without a fault, and with much brilliancy and the greatest attention to the varying effects. Tho solo work was tho hands of Miss May Sullivan ( soprano) .Misa Mee (contralto), and Messrs Bo we (tenor) andConey (bass). Tho soprano has a pure, sweet voice, remarkably bright in tho upper register ; a voice whioh, with practice, will do wonders. It ooped very successfully with the difficulties of the music. The contralto and tho bass showed themselves less advanced. Such arduous ' work was heavy for them, particularly for tho bass. But they showed a becoming reverence and Qaro for style which promise well- Mr Kowo sang th'e tenor music with the oaso and grace of a veteran singer whose voice is pure and strong, and whose power of declamation,whoso articulation and phrasing aro all that can bo desired. Wo were glad to see a very large audienoo, amongst them His Excellency the Governor and a largo party from Government House, Mr Parker deserves groat credit fqr tho production of tho work, which he conducted with great care, andMr MaoDaff Boyd led tho orchestra with his usual power, accuracy and good taste.