DUNEDIN SYMPHONY ORCHESTRA

Otago Daily Times, Issue 21910, 23 March 1933, Page 9

DUNEDIN SYMPHONY ORCHESTRA

FIFTH CONCERT AN. OUTSTANDING- PERFORMANCE. Since its first concert less than nine months ago the Dunedin Symphony Orchestra has built up for itself a reputation which might well be envied by similar organisations of much longer standing, and it would probably be no exaggeration to suggest that there are few, if any, instrumental combinations in other parts of the Dominion which could achieve a higher standard of executive and artistic endeavour than that which has brought this orchestra to the forefront of local musical organisations in so short a period. The energy and enthusiasm with which M. de Rose has thrown himself into the work of bringing the instrumentalists to a high state of concerted perfection has resulted in the welding together of an orchestra which embodies all the best characteristics of tone, balance, and general cohesion. The Symphony Orchestra’s fifth concert* which was presented before a v6ry large audience in the Town Hall Concert Chamber last evening, proved that far from resting content with the success won in its earlier recitals, the orchestra, spurred oh by the indefatigable energy of its conductor, has brought itself up to a remarkably high state of proficiency, and has advanced still further along the path to ultimate perfection. In all the branches of its work last evening the orcheetra gave striking evidence of consistent and intensive preparation, leavened by that essential esprit de corps without which no combination can .hope to be successful. So rare and bo alight were the departures from the strict lines of good balance and cohesion that they were practically negligible, and the result was a programme which gave every satisfaction. The opening presentation was the concert overture “Faust,” by Wagner, a composition based on Goethe’s famous drama. As a composition it was characteristic of Wagner’s style, the majestic and moving treatment of the various themes providing unusual opportunities for complex orchestration, and the musicians, entering into the spirit of the work with good understanding, brought out all its richness and character with impressive effect. The Adagio from Mendelssohn’s ’Cello Sonata was performed with great beauty of tone and perfect cohesion, the ’cello eolo part being admirably interpreted by Mr L. E. Hunter, who achieved excellent tone. Boccherini’s blithesome Minuet, for strings only, was played with admirable grace and expression, the first portion of the programme concluding with a singularly attractive presentation of Haydn’s Symphony No. 12 in B flat major. After a brief slow introduction, the musicians swept into the vivacious allegro with fine spirit and tone quality. A colourful and melodious adagio was followed by a stately and dignified minuet, in which the strings performed with marked precision and rich tonal quality, the composition concluding with a vigorous presto which was given a performance that was full of character and interpretative colouring. Grieg’s “ Peer Gyut ” Suite No. 2 was a delightful effort, the opening movement, Ingrid’s Lament, being played with excellent restraint and warmth of expression. The rhythmic and descriptive Arabian Dance, which was presented with fine understanding of the requisite atmosphere, was followed by a stirring performance of the storm scene which depicts Peer Gynt’s homocoming, the suite concluding with the lovely “ Solveig’s Song,” of which the orchestra gave a truly masterly interpretation. “ Chant d'Automne,” from Tschaikowsky’s “The Seasons,” another composition in which the combination and tone quality maintained was practically without fault, was followed by a fantasia of airs from the ever-popular “ Coppelia Ballet,” by Delibes, which was performed with charming vivacity and artistry of expression. Miss Thelma Lnpp, a young violinist of considerable attainments, was associated with the orchestra in an arresting presentation of Max Bruch’s violin Concerto in G minor, a lengthy and complex composition providing an exacting task for the soloist. Miss Lupp, however, had the advantage of excellent technique,

facility of expression, and maturity of interpretative qualifications, and gave a finely shaded and artistic rendition. Her intonation was beyond reproach until near the conclusion of the concerto, when the strain of the task evidently began to tell on her. The orchestral accompaniment played a large part in the ultimate success of the number and was never allowed to overshadow the soloist, who was accorded an enthusiastic reception at the conclusion of the item. Miss Ruth Perry, who is the possessor of a mezzo voice of rich quality, gave a delightfully artistic performance of “ Chanson Boheme,” from Bizet’s “ Carmen,” singing this lilting and colourful aria with appealing expression and taste. Later in the evening she was heard in a group of traditional airs, “A Shieling Song” (Hebridean), “Barbara Allen” (English). “Believe Me if All Those Endearing Young Charms” (Irish), and “My Love is Like a Red, Red Rose ” (Scottish), in which she once more won the warm approval of her hearers. As encores Miss Perry sang “The Princess,” and the negro spiritual ‘ Wait Till I Put on My Crown.” The other vocalist was Mr John Kennedy, whose fine tenor voice was given admirable expression in Mendelssohn's “On Wings of Song.” which he sang with artistic interpretation, and the encore number, “ I Hear a Thrush at Eve,” which was also a very attrnc-' live effort. The pianoforte accompaniments were artistically and sympathetically played by Miss S. Baker.