DUNEDIN SYMPHONY ORCHESTRA

Otago Daily Times, Issue 22070, 28 September 1933, Page 11

DUNEDIN SYMPHONY ORCHESTRA

AN ATTRACTIVE CONCERT Since its inception not such a long time ago the Dunedin Symphony Orchestra has built up an enviable reputation among music-lovers of the city, and, the following it hag acquired was amply demonstrated by the large audience at the orchestra’s ninth concert, which was given in the Concert Chamber of. the Town Hall last night. The programme was, if anything, a little more ambitious than those of previous concerts, and although the orchestra perhaps did not reach the high standard that it has attained in the past, its performance was certainly not disappointing, and a full measure of enjoyment was obtained by its patrons. M. de Rose had his orchestra under admirable control at'all times, and to him must be given a great deal of the credit for a highly satisfying evening. The major work attempted by the orchestra was Tschaikovsky’s “ Symphony in B Minor ” (Pathetique), through which there runs an almost perpetual, note of utter despair, and although at times a - brighter theme is allowed to take the ascendancy there is ever a return to the suggestion of mournfulnesa and imminent tragedy. The plaintive opening theme was effectively handled by the ’cello, and as his last despairing notes faded into silence the orchestra took up the allegro in bright fashion, the climax which shortly followed being notable for fine volume and tone. The violins then swept into the beautiful and passionate andante, in which fine rhythm was achieved, and as the second section of the movement was commenced the orchestra responded admirably to the demands, made on it, the final portion of the movement _ being notable for its solemn and impressive dignity. The second movement opened in irregular . time, which the composer has used with great attractiveness, and this theme was given delightful treatment by the orchestra, which interpreted the varying moods in a thoroughly satisfactory manner. The delicate march theme with’ which the third movement opens was portrayed with considerable artistry, and as the passage was developed the climax which followed was notable for the intense and sustained. power that was achieved, loud applause greeting the conclusion of the movement. In the final movement there is a return to the poignant and sombre mood that marked the opening of the symphony, and here the orchestra was somewhat lacking. It failed somehow to achieve the spirit that the composer intended in the closing passages, and this detracted in some measure from the fine performance that had been given of the first three movements. To many one of the most attractive offerings of the evening was the selection from Tschaikovsky’s ‘ 7 Concerto No. 1 in B flat minor," which was played as a pianoforte solo by Miss Sybil Baker, with orchestral accompaniment. It was a solo abundant in technical difficulties, but these the pianist surmounted in masterly fashion, and gave a fine interpretation of this arresting work. There was at all times the closest of co-operation between soloist and orchestra, and Miss Baker wag respohsible for. a performance that was notable for its great power and strongly-accentuated rythm. The heavy note that had been, a feature of the programme till that time was broken by the beautiful “Pastorale" of Cesar Franck, a thing of smoothly-flow-ing melody and graceful theme with which the orchestra was entirely at home. Another composition in the lighter vein was the Samt-Saens barcarole, "UneNuit k Lisbonne,” a fragment of infinite grace in which the extreme delicacy of treatment given by the orchestra earned it rounds of applause. Miss Ngaio Garland had ample opportunity to display her ability in the violin solo, “ Fantaisie Appassionata ” (Yieuxtemps), in which she was accompanied by the orchestra. It was a composition that demanded a great deal both from the soloist and the accompaniment, and the perfect balance of the two, coupled with Mias Garlands executive ability and the fine . tone she maintained throughout, made this one of the gems of the evening. The orchestral portion of the programme was concluded with the overture “ Phedre ” (Massenet), a striking work in which the orchestra attained fine tone and volume. Mr Richard Duerdou, the male vocalist, was heard at his best in "The Volga Boatmen,” " Russian Love Song ” (Lphr), and Massenet’s beautiful “ Elegie, all ot which earned him loud applause. Miss Kathleen Geerin’s solo was ‘Plaisir d’Amour” (Martini), an attractive song to which she gave a sympathetic interpretation.