EASTER MUSICAL OFFERINGS

Otago Daily Times, Issue 21300, 2 April 1931, Page 6

EASTER MUSICAL OFFERINGS

OLIVET TO CALVARY. Quite in keeping with the approaching Easter the choir and organist of St. Matthew’s Church gave a very praiseworthy rendering of the music of the cantata “Olivet to Calvary” last evening, which could scarcely fail to meet with the approval of those present. “Olivet to Calvary,” it may be mentioned, is a musical representation of the last days of the Saviour’s life on earth, the words and arrangement being by Shapcott Wensley, and the music by the well-known composer J. H. Maunder. The choir, sang the music very, well, but, in places, there was an obvious want of musical strength, and consequently not quite as mjich body as might have been desired. So far as those composing the choir was concerned, no exception could be taken to what was heard. In some instances the choir was quite able to cope with the music before it, but there were cases where greater numerical strength was essential to complete success. The soloists are to be complimented upon the way they sang the music that fell to them. The opening chorus, “On the Way to Jerusalem,” was very well rendered, the volume of voice being ample for the occasion, and the organ accompaniment giving all the support necessary, and assisting materially in the success attained. The best sung portion was “ Hosanna! Hosanna! ” which was given with fine effect. In the chorus, “ Another Temple Waits Thee” the fresh young voices of the boys was a conspicuous feature. The chorus, “ ’Twas Night o’er Lonely Olivet” went very well, and the chorus portion of “ Come Unto Him ” was delivered with fine emphasis where necessary. The chorale “ March to Calvary ” was well sung, and was a continuation of many pleasing choruses that had preceded it. In this chorus a well studied attention to subdued and reverential passages was very noticeable. The final chorus, “ Droop, Sacred Head,” was one of the most beautiful heard, and the opening soprano solo was very pleasingly rendered. Included in the chorus w’ork were a number of hymns, for the singing of which the choir was left entirely responsible. . Both the bass and tenor soloists sang - very commendably, probably “ And When They had Sung a Hymn ” —one of the bass airs—being as enjoyable as any of the solos given. The arietta—containing the Divine command to. love one another—was very effectively sung, and the quartet with which it is merged was a notable instance of good vocalisation. The organist gave valuable support all through the performance.