VERSATILE MUSICIANSHIP

Otago Daily Times, Issue 22710, 24 October 1935, Page 12

VERSATILE MUSICIANSHIP

MR PERCY GRAINGER'S ARTISTRY

IMPRESSIVE CONCERT IN TOWN HALL

A unique opportunity of studying the original genius which has made Mr Percy Grainger an internationally renowned pianist and composer was afforded Dunedin music lovers last evening, when a concert in aid of the Mayor's Relief Fund, conducted under the auspices of the New Zealand Broadcasting Board, and featuring this eminent musician in such departments of musical expression as soloist, conductor, and composer, was presented before a large audience in the Town Hal'. Mr Grainger's compositions have long been familiar offerings by local musical organisations at their recitals, but virile and characteristic as these works are thev are yet but the partial reflection of the vital and inspiring personality that is Mr Grainger, a fact that became progressively evident throughout the concert With the exception of one pianoforte solo, by Balakireff, and the final item of the entertainment, the first movement of Grieg's Concerto for Pianoforte and Orchestra in A minor, all the numbers presented during the evening were either composed or arranged by Mr Grainger, and the audience was therefore able to gain an excellent insight into the composer's interpretations of his own works. Mr Grainger also revealed himself as a lecturer of some skill, his explanatory remarks concerning the compositions to be performed being lucid and enlightening, and contributing in no small measure to an intelligent understanding of the works. The concert opened with a performance by the Duncdin Orchestral Society, conducted by Mr T. Vernon Griffiths, of " Handel in the Strand," in which the xylophone effects were played by the composer. Once or twice the orchestra did not appear to be able to maintain the rhythm of the composition in unbroken line, and some of the effect of the work was thereby lost, but otherwise the performance was quite creditable. Mr Grainger's first appearance as a soloist was in a group of pianoforte numbers, each of which he prefaced with a few explanatory remarks. The first number was " The Hunter in His Career," an arrangement with an eighteenth century English hunting 6ong, which was highly descriptive of its subject. Here Mr Grainger gave an indication of the technical resources at his command, sweeping through the vigorous and colourful composition at a breathless pace. In delightful contrast came "Now, 0 Now, I Needs Must Part." variations on a very lovely air by Dowland, an early Irish composer, which Mr Grainger treated with the most delicate restraint and feeling, the group concluding with a positively whirlwind performance of " Country Gardens," one of the composer's best-known works, in which further revelations of Mr Grainger's extraordinary executive powers were made. In response to prolonged and enthusiastic applause Mr Grainger played an interesting transcription of Brahms's " Cradle Song" in serene and restrained style. His setting of Kipling's famous " Recessional " was presented by the Dunedin Choral Society's Madrigal Club which, under the skilled and sensitive direction of the composer, sang with notable devotional spirit, while maintaining excellent balance and tone, the singers being further assisted by a finely modulated musical background provided by Dr V. E. Galway at the organ. The Madrigal Club was next forward in a presentation of "The Merry Wedding," a bridal song for five solo voices, choir, and orchestra, conducted by Mr Alfred Walmsley, with the < composer at the harmonium. A setting of a traditional text from the Faroe Islands, this number was particularly interesting, the arrangement for the quintet of soloists, (Misses Betty Pocock, and Dorothy Stentiford, and Messrs J. E. Davies, F. G. Taplin, and J. Deans Ritchie), and the choir being both melodious and ingeniojus. Mr Grainger's full powers as a conductor were revealed when he undertook the control of the Dunedin Orchestral Society in a bracket of two numbers, his direction being a model of perfect command which was reflected in the spirited and wholly competent performance by the orchestra. The reel, " Molly on the Shore," was played with great verve and vigour, admirable rhythm and tonal cohesion being throughout. " Blithe Bells," a series of variations' on Bach's aria, " Sheep may graze in safety when a gobdly shepherd watches o'er them," was a diamine number in which the string section of the orchestra was assisted by Mrs Ella Grainger at the aluminium marimba, and Mrs H. C. Campbell and Mr Max Scherek at the piano. A third composition in the same bracket was " River," an American folk dance set for orchestra, xylophone, marimba, chime bells, and piano. This number was conducted by Mr Griffiths, the composer playing the pianoforte part and Mrs Grainger supplying the percussion effects. Full of robust vigour, suggesting an oldtime dance tune, it was an interesting work, the effects, which were competently played by Mrs Grainger, being freely distributed through the composition. Mr Grainger's next solo appearance was in a masterly paraphrase of the love duet from Strauss's " Der Rosenkavalier," which he played with delightful grace and expression, but it was in his performance of Balakireff's extraordinarily difficult " Islamey " that he displayed the full extent of his exceptional technical equipment. This work, with its tempestuous headlong rhythms, was played at a tremendous pace, and provided a brilliant exhibition of amazing executive skill allied to great depth of interpretative insight. As an encore Mr Grainger played his well-known " Shepherd's Hey." An English folk-song, " I'm Seventeen Come Sunday," a number by the choir and orchestra, conducted by the composer, was a rollicking and amusing item which was presented with attractive colour and expression, after which the choir, conducted by Mr Walmsley, sang "Australian Up-country Song," without accompaniment. This was a most interesting composition, in which no words were used, the choir singing vowel sounds, and the effect was particularly attractive. Undoubtedly the most arresting performance of the evening, as far as Mr Grainger's own compositions were concerned, was his " Tribute to Foster," for five solo voices (Misses Betty Pocock and Dorothy Stentiford and Messrs J. E. Davies, Douglas Rutherford, and J. Deans Ritchie), choir, musical glasses, two pianos, and strings. Based on Stephen Foster's old song, "De Camp-Town Races," this composition traversed the original song, in which the choir was accompanied by Mr Grainger and Mr Scherek at the pianos, and then passed on to a lullaby version of the same theme, sung by the five soloists, and accompanied by such unusual effects as a musical glass, played by Mrs Grainger, and portions of the marimba, which had been partially dismembered and distributed among the violinists, who produced unexpected noises by playing the bars of metal with their hows. The general effect was extremely interesting, and demonstrated yet another side of the composer's versatility. The concert was brought to a conclusion with a brilliant performance of Grieg's Concerto for Pianoforte and Orchestra, Mr Grainger's treatment of the solo part being a model of authoritative interpretation and executive perfection, while the orchestra, conducted by Mr Griffiths, acquitted itself with distinction, providing a rich-toned and admirably-balanced background Towards the close of the entertainment the Mayor (the Rev. E. T. Cox) and Dr V. E. Galway expressed the citizens' gratitude at being afforded the privilege of meeting and hearing Mr and Mrs Grainger, whereat Mr Grainger paid a generous tribute to the musicianly qualifications of the artists with whom he had been associated that evening.