PHILHARMONIC SOCIETY

Otago Daily Times, Issue 16041, 6 April 1914, Page 9

PHILHARMONIC SOCIETY

The first concort of the 1914 season bj the Dunedin Philharmonic Society was held in the Garrison Hall on Friday evening. In the earlier part of the evening tho weather looked threatening, but the rain held oft, and the attendance of subscribers was large enough nearly to fill the hall. Signer Squarise conduoted with hie usual ability, and had his forces of some ,50 executants well under control. The readings submitted were generally in keeping with the highest traditions, though occasionally the tone texture oi the orchestra suffered through slight inaccuracies in the rendition of the more subtle parts of certain oassages. Ihe audience was scarcely so enthusiastic as usual, though this was no doubt due to eome extent to the high class and intricate nature of eome of £he compositions played; and in ■view of this it may occasion no surprise to find a mixed assembly re-demanding a musical trifle such as the pizzicato gavotte " Wielliebchen," by Haase, in preference to the more ambitious and elaborate compositions of Gcunod and Tschaikowsky. The concert opened with the march " Onward Otago," a piece specially composed by Signor Squarise for the Dunedin Expansion League's Gala Week. It is a sprightly, Eiineful, and optimistic composition, which has been thoroughly mastered, and it may be said without fear of contradiction that the orchestra was as happy, or happier, in this than in any other selection during the evening. " Onward Otago " contains several fascinating melodies, and it should becom6 a favourite piece in the repertory ot bands and orchestras to which it is introduced. The following piece was orchestrated overture "I Proroeesi Sposi (Ponchielli), opening with a sweetly flowing, melody on the strings, which merges into a vigorous allegro. A section of the woodwind got woefully out of tune in this part, but otherwise all went well. Under the conduotor's baton the orchestra «tra«ted the pathos and fire which Ptoichielh had put into it, and the precision of the playing and attention to, details fully earned the applauso with which the performance was r.eceived The orchestra gave an intelligent and. enjoyable rendering of Gounod s " Dance Bohemienne," one- of the series ot dances which belong to the incidental music composed by Gounod for Jules Barbier s drama, "Jeanne d'Arc." The musio is descriptive and characteristic of the gipsy race, • and the distinction in Gounod's mueio is well exemplified in this composition, lo many the music is no doubt unfamiliar, but once heard there is no question that a deeire 13 created to hear more. The melodies are in their way quaintly peculiar, and, in order to stamp them with the gipsy characteristics, imagination and executive skill are essential in a more than ordinary degree, ine audience warmly applauded the performance of the composition, evidently recognising it to be an excellent piece of work, well played. The most ambitious effort of. the evening was Tschaikoweky's " Capnocio. Italien," a composition which reveals the musician's thoroughgoing acquaintance, .with orchestral technique and mastery of colour. In invention and contrast of rhythmical ideas the work is remarkable. It opens with a fanfare for two trumpets, followed by a series of chords in the. woodwind which ushers in the rhythm of the. accompaniment of the first theme—an Italian folksong given out by the strings. A new theme is subsequently introduced by the flutes and violins, with a counter melody for horns. This leads into a brilliant climax, which merges into a Tarantella, the whole orchestra combining in an animated and powerful finale. In. attempting to interpret this composition the society undertook a difficult task,, and it cannot ba said that its performance was a complete success, The playing was blurred and foggy at times, and the woodwind was frequently ragged and feeble. Considering the many intricacies of the wor c, however, the players succeeded very well, arid managed to make a good display, ine two bracketed numbers—andante "Canzona (Wheeldon) and pizzicato gavotte, Wielliebchen " ■ (Haase)—each for tho strings only, proved popular and enjoyable. In the former the theme contains a sweet_ and flowing melody, which is given to the cellos, the first violins coming in with;-well adapted counter melodies: The violins were occasionally too assertive, and somewhat overwhelmedthe 'cellos. The latter piece forms a fine contrast to the first, and introduces a lively tune, which is repeated pianissimo with great effect. In response to demands from the audience this piece had to be repeated. Dvorak's "Slavonic Dance No. 2" was the closing instrumental selection. This f ascinat-' ing and exhilarating number contained much congenial material for all the instru-ments,-and the charm was enhanced by the. introduction of uncommon rhythmical, effects. The players were well together, *i;d their rendering of this piece was among the good things ol the evening. Mr J. Wallace was of great assistance as a-capable leader of the. orchestra, #nd Miss L. M.'Laren officiated at the- piano. Vocal solos were con-' tributed by Mr C. 6. Mayer, and his-choice" of eongs was rather unfortunate, Allitsen's " A Son" of Thanksgiving" being too heavy for him. He was heard to better advantage in his second!contribution, Sargeants' Blow, Blow, Thou Winter Wind." He possesses a baritone voice of good quality, and although his singing of the latter song was marred to a slight extent by faulty production, it found favour with the audience, which demanded an encore. This was responded to with an acceptable - rendering of "Gondola Dreams." The accompaniments were played by Miss G. Stoneham.