DUNEDIN SYMPHONY ORCHESTRA

Otago Daily Times, Issue 21993, 30 June 1933, Page 9

DUNEDIN SYMPHONY ORCHESTRA

DELIGHTFUL REQUEST CONCERT It was not. surprising that the Concert Chamber of the Town Hall should have been almost completely filled last night when the Dunedin Symphony Orchestra presented its seventh concert. From its inception this outstanding combination has presented concerts that by reason of their interest and tbe standard of musicianship displayed have created a degree of enthusiasm among successive audiences that has given new life to orchestral work in this city. The growing popularity of the orchestra was sufficient in itself to account for such a large attendance, but many must have been attracted by the announcement that the programme to be presented comprised a choice of -request items covering a wide range, and representing a great deal of what is best in music. Opening its programme with the colourful overture “II Guarany,” by the Brazilian composer Gomez, the orchestra maintained a standard of\ playing which kept the audience enthralled until the stirring climax of the famous “ 1812 ” overture was reached. Seldom have lovers of music in Dunedin been presented with a programme of orchestral music so interesting and so enjoyable. M. de Rose, for whose work the keenest admiration has already been expressed, must have earned the gratitude of every member of the audience for the musical treat which he provided. He had his orchestra under perfect control throughout the evening, giving further evidence of the fact that he has moulded it into a combination which may attempt the most difficult works without the slightest trepidation. It was not surprising that a programme of request items should include the symphonic poem “ Finlandia, in which the Finnish composei _ Sibelius expresses the spirit of his native land. Of this work the orchestra gave an interpretation which must have appealed strongly to the audience, for the rapidlychanging picture gave the combination full scope for artistic interpretation, its work being marked by an; evenness in its various sections that played no small part in the success of its members as a whole. By a happy thought tbe fantasia, “To the Memory of Beethoven” (Urbach) was chosen as representative of Beethoven s works, and to say that the orchestra did full justice to this combination of all that is best in what the great composer has given -to music would be to accord it scant praise for a performance that was marked by great _ beauty of tone and general musicianship of the highest order. It was again beauty of tone that marked the presentation of “ "False Triste,” also by Sibelius. In this dramatic representation of approaching death the underlying note of sadness was admirably conveyed, the sombre opening was given sympathetic treatment, and in the changing scenes until the final approach of Death himself a deep understanding of the requirements of the work was displayed. An old favourite, “ The Blue Danube ” (Strauss), was skilfully presented. By its interpretation of Tschaikovsky’s “ 1812 ” overture the orchestra, and particularly its conductor, must have created a very favourable impression, for the work is one in which they might have doubted their ability to give full expression to all that it conveys. Depicting the approach of Napoleon upon Moscow, the fears of the inhabitants, the steady approach of the French, and finally thg celebrations in the city as the invaders withdraw, it, presents opportunities of which the orchestra took full advantage. The solemn beauty of; the hymn theme was well brought oikt, a high standard of playing being maintained until tbe full power of the combination was heard in -a realistic presentation of the final triumphal scene. It will probably be agreed, how.ever, that it was in Mozart’s great “Coronation Concerto, in D major” that the finest performance of the evening was given. The pianist was Mr Helmuth Hoffmann, whose capabilities are so well known to Dunedin audiences. His skilful playing earned the warmest appreciation of the audience, a notable feature of the performance being the fact that the striking cadenza at the conclusion of the first movement was of his own composition. The accompaniment was provided in a manner that reflected the greatest credit upon the orchestra, which maintained a degree of excellence throughout a lengthy number that proved it to possess outstanding capabilities. The audience accorded a very warm reception to Miss Gwenda Burt, who proved that she had a contralto voice of unusual quality in her singing of “ O Don Fatale,” from “ Don Carlos ” (Verdi), and later ofi Rachmaninoff’s “In the Silence of the Night” and “By the Waters of Minnetonka” (Lieurance), In response to a demand for an encore Miss Burt accompanied herself in a charming item, “ Star,” by Rodgers. A number of considerable interest and beauty was “Romance Sans Paroles,” composed by M, de Rose and played as an oboe solo by Mr B. R. Nees, the work being dedicated to Mrs Nees. Mr Lloyd Hunter played the ’cello solo “Chanson Romanesque.” also composed by M. de Rose. It was fitting that two of the conductor’s own works should be included in a programme during which all that he has clone to perfect bis orchestra was so strikingly indicated.