DUNEDIN CHORAL SOCIETY

Otago Daily Times, Issue 23516, 2 June 1938, Page 15

DUNEDIN CHORAL SOCIETY

FIRST RECITAL OF SEASON BRILLIANT BOY VIOLINIST A concert of unusual interest was presented by the Dunedin Choral Society before a large audience in the Town Hall la.t night, the three mam features of the entertainment being performances of Coleridge-Taylor’s “Bon-Bon Suite’’ and Allred Hills “Hinemoa,” and the appearance of Alan Loveday, the gifted 10-year-old boy violinist from Palmerston North. Although the choral presentations had their own particular charm, the highlight of the evening was undoubtedly the extraordinarily polished work of the young violinist, who displayed musicianly qualities that belied his tender years and gave every indication of a brilliant musical career if, as it is hoped, the boy is given the opportunity of pursuing his studies abroad. The choir acquitted itself with the utmost credit in the two major choral works of the evening, responding with spirit and intelligence to the demands made upon it by the conductor (Mr Alfred Walmsley), who guided it through the changing moods of the Coleridge-Taylor work and the melodious, if slightly unimaginative., themes of Alfred Hill’s composition with decision and a close attention to atmosphere. After singing Sir Edward Elgar’s arrangement of the National Anthem, the solo part of which was sung by Mrs N. R. Henderson. the choir paid a tribute to the memory of the late Mr Charles M. Barnett, who at the time of his death was chairman of the society’s committee and also its treasurer, by singing “ Cast Thy Burden Upon the Lord,” from Mendelssohn’s “Elijah.” This lovely choral work was presented, unaccompanied, with marked restraint and feeling, the combined tone quality being rich and perfectly controlled. The Coleridge-Taylor suite, which consisted of six distinct works for baritone soloist and chorus, was replete with colour and life. The first number of the suite, “The Magic Mirror,” gave the soloist, Mr Arthur Lungley, a good opportunity of demonstrating his sound grasp of the requirements of the composer’s intentions, his interpretation being vigorous,. yet well-controlled. The choir was also successful in sustaining the atmosphere of the composition.' singing with good cohesion and tonal shading. “ The Fairy Boat,” a purely choral number, was also presented in effective style, the flowing rhythm of the work and its imaginative atmosphere being successfully maintained. “To Rosa,” a romantic number for soloist and choir, in which Mr Lungley sang with good restraint and feeling, and “ Love and Hymen,” a charming gem which the women’s section of the choir presented with attractive grace, were followed, by “ The Watchman,” another section in romantic vein, the solo part of which was artistically sung by Mr Lungley, while the choir provided a restrained yet warm-toned background. The final number of the suite, the chorus “ Say, What Shall We Dance? ” was an exceptionally engaging number, the delightful colour and movement of the composition being skilfully handled by the singers. Alfred Hill’s “ Hinemoa,” which occupied the entire second half of the recital, contained many points of musical interest, but it was obvious that when he wrote the work the composer’s research into the fundamentals of Maori music had not progressed very far, for in only one or two instances were there evidences _of the thematic design associated with the folk music of the Natives of New Zealand. Moreover, the libretto occasionally lapsed into the banal, which did not help to maintain the atmosphere of dignity which should be associated with the romantic legend of Tutanekai and Hinemoa. With the material available, however, the choir and soloists carried out their work with marked success, the musical interest of the work being further _enhanced by the excellent orchestration, which was handled with sympathy and skill by the society’s orchestra. Mrs N. R. Henderson, who sang the soprano part of Hinemoa, gave a sensitive and artistic reading which did much to ensure the success of the presentation. Her work was always thoughtful and full of appropriate atmosphere, and in her dramatic as well as her more restrained passages she demonstrated excellent vocal control. Mr James Hinton was fully alive to the demands of the tenor parts of Tutanekai and Tiki, and sang with rich feeling and interpretative colouring. His solos were by no means easy, but he succeeded in investing them with distinctive emotional shading which gave the part a living quality. The work of the choir throughout the presentation was excellent, its most outstanding number being the Chorus of Warriors, of which it gave a definitely warlike interpretation. In “ Hinemoa,” as well as in the Coleridge-Taylor suite, the society’s orchestra, led by Miss carried out its part of the recital with musicianly precision and balance, providing sympathetic and warmly-shaded backgrounds for the choral and solo numbers, and at no time being obtrusive. To state that the audience was completely astounded and then carried away by the performance of Alan Loveday, the boy violinist who has come to Dunedin with the highest recommendations as an accomplished executant, would be to say no more than the bare truth. It is extremely doubtful if a Dunedin audience has ever before heard such a remarkable exhibition of musicianly skill from so young a performer, and it might even be claimed that many more experienced violinists have been unable to demonstrate such complete technical command as that displayed last night by this 10-year-old boy. Despite the fact that his lack of strength prevented him from producing any great volume of tone from his small- instrument, his tone quality was crystal-clear, indicating not only an exceptionally acute ear, but also firm, clean bowing, and extraordinarily accurate and skilful stopping. Master Lovedav’s first offering was Bazzini’s spectacular “ Dance of the Goblins,” the technical difficulties of which, such as staccato bowing and left-hand pizzicato work, lie surmounted with apparent ease, while at the same time maintaining perfect intonation and tone quality. The Kreisler arrangement of' Mozart’s “Rondo,” an almost equally intricate work, was played with marked confidence and skill, the slower passages enabling the young performer to show the pure, sv'eet tone at his command, while his final programme number, Musin’s “ Mazurka,” another showpiece of intricate design, was played with unabated executive skill and precision. In response to storms of applause, Master Loveday played Kreisler’s “ Tambourin-Chinois ” and “The Canary,” his harmonics in the latter number being a sheer delight. The pianoforte accompaniments tvere artistically played by Miss Mavis Macdonald.