DUNEDIN SYMPHONY ORCHESTRA

Otago Daily Times, Issue 21780, 20 October 1932, Page 8

DUNEDIN SYMPHONY ORCHESTRA

AN IMPRESSIVE RECITAL The remarkably high standard of executive and interpretative effort set by the Dunedin Symphony Orchestra in its two previous recitals was more than, maintained last evening when the orchestra’s third concert was presented before a moderately large audience in His Majesty’s Theatre. Despite the fact that the musicians were set tasks which would have taxed to the utmost the resources of much larger combinations, there was a general atmosphere of assurance and competence evident throughout the presentation which spoke volumes for the confidence reposed in the conductor (M. de Rose), through whose efforts the orchestra had been brought to such a pitch of technical and artistic accomplishment. In addition to achieving splendid balance and tone in all of its efforts, the orchestra was always under excellent control, the various sections of the combination responding instantly to the directions of the conductor and maintaining a degree of cohesion which argued intensive and painstaking rehearsal, combined with a sound sense of orchestral requirements. , Berlioz’s overture “ Benvenuto Cellini,” a brilliantly orchestrated composition of elaborate and complex construction, provided an impressive introduction to a concert composed of works of a uniformly high character, the treatment accorded this overture being a convincing illustration of the admirable standard of competence attained by the musicians. The swiftly-changing themes were dealt with in such a manner that their development was smooth and cohesive, each section of the orchestra in turn being called upon to contribute to the general progression of the composition. The strings were always full-toned and vigorous, whilst the remaining sections of the orchestra combined to create a rich background that was at once colourful and splendidly balanced. The Rimsky-Korsakov “Antar” Symphony, ot strongly Eastern , flavour, was performed with a close attention to the requisite atmosphere, the orchestra maintaining a very high standard of technical achievement throughout, and working up to an inspiring climax in which the full quality of the tone achieved was a delight in itself. The tragic dignity of “ Siegfried’s Funeral March, from Wagner’s “ Twilight of the Gods, one of the most stirring funeral marches ever composed, was a number which received a most graphic and effective performance, the sombre motif with which the composition opens being given singularly impressive treatment, whilst the development of the different themes of “ The Ring ” which are worked into this majestic number was sutisfyingly dramatic. In sharp contrast was Arensky s “ Intermezzo,” a blithe and captivating composition which was performed with delightful grace and fluency. Then came a fantasia of principal airs from Puccini’s “Tosca,” of which the principal note was grim tragedy, relieved occasionally by brief themes of light and colourful character. The orchestra attacked its work with a fine sense of atmosphere and gave a richly-modulated presentation. Perhaps the most inspiring effort of the evening, however, was Liszt’s “Hungarian I*antasia,” in which the pianoforte section was performed by Mrs B. R. Necs. This was an exceedingly exacting task for both the soloist and the orchestra, but not even the most critical could have desired a greater degree of competence and artistic interpretation than was presented in this performance. Mrs Nees’s work was nothing less than superb, her brilliant technique and great interpretative skill overcoming with ease the innumerable difficulties presented in this composition, whilst the orchestra provided a well-balanced and cleanly-executed accompaniment. In response to the storm of applause which greeted the conclusion of the number, the last movement was repeated. Madame Annette Chapman, whose appearances on Dunedin concert platforms arc all too rare, gave a strikingly dramatic interpretation of an aria from Bruch's “ Achilles,” in which Andromache mourns the death of her husband, the Trojan Hector, her rich mezzo voice and the depth of artistic treatment which she accorded this number calling forth an enthusiastic response from the audience. Later, Madame Chapman sang Brahms’s lovely “ Cradle Song ” and Rimsky-Kor-sakov’s well-known “Song of India,” from “ Sadko,” with charming expression. Her encore numbers were “Twilight” and a charmingly fanciful number by Delius. Mr Arthur Lungley gave a competent and vigorous rendition of the Prologue to Leoncavallo’s “I Pagliacci,” and also sang the evergreen “0 Sjjar of Eve,” from “ Tannhauser ” (Wagner), with good expression. His recall numbers were “Banjo Song” and “A Wanderer’s Song.” In the operatic excerpts presented by the soloists the orchestra was responsible for sympathetic and nicelymodulated accompaniments, whilst the pianoforte; accompaniments were artistically performed by Miss S. Baker.