ORCHESTRAL SOCIETY'S CONCERT.

Otago Witness, Issue 2325, 22 September 1898, Page 46

ORCHESTRAL SOCIETY'S CONCERT.

The third concert of the Dunedin Orchestral Society's eleventh season, which was given in the Agricultural Hall on the evening of the 14th, attracted the usual numerous assemblage of music lovers. The concert, however, cannot be said to rank equally in point of enjoyment with those given by the society on past occasions. In a word, it was the least successful of the present season, and it was the only concert given by the society at which the audience manifested a distinct sense of weariness. -At the interval not a few of those present took their departure, and all through the second part an ever-increasing stream made their escape, till eventually those who found the performance sufficiently attractive to induce them to retain their seats deemed it necessary to utter an unmistakable protest as a large body rose to go out during the rendering of the final selection, Donizetti's " Don Pasquale." The attitude of the audience may generally be taken as a pretty accurate barometer whereby to gauge the merits of a performance, but the impatience displayed last evening is to be attributed not to defects in the performance of the orchestra, but to the arrangement of the programme. As has been reasonably, remarked) al£ho.u£U these conceits

are orchestral concerts, there can be too much! orchestration, and some degree of judgment must be displayed in the selection, the arrangement, and in producing a diversified programme. Perhaps the feature in the arrangement of last evening's programme which was most open to exception was the length and tho similarity of style of the orchestral selections. It is not often the case that the society lays itself open to adverse criticism of this character, but an explanation as to the reason why not a few of those present thought the entertainment dragged somewhat may be found in"the fact that there was only one vocalist, and consequently only two solos during the evening. Why tho usual course in this respect was departed from on this occasion is unknown, but the efforts of one vocalist cannot be said to bo sufficient to relieve a leag succession of orchestral contribtitions. The principal instrumental performances were Haydn's No. 7 Symphony and the " Tannhauser " selection. The four movements of the symphony (adagio et allegro, andante menuetto, and allegro soritosi) were ployed, as stated in the annotated piogramme, a somewhat peculiar feature of this symphony is a distinct suggestion of bagpipes in the final movement. The circumstance may be merely a coincidence, and yet the composer may have designedly introduced a reminiscence of the famous Scottish pipe music, as about the time the symphony was written he was composing harmonies and accompaniments to Scottish; airs. Although the work in breadth of style and general treatment falls behind others of the series of symphenies composed by Haydn, the No. 7 breathes throughout the spirit of the composer's genius, and will ever form an imperishable monument to perpetuate his name. Its interpretation, whilst not entirely free from blemish, was evidently begotten of careful and intelligent rehearsal, and the performance is certainly deserving of very warm encomiumsThe •" Tannhauser has been played on several occasions of late, mid its magnificent, bold passages and striking harmonies received full justice. The cornet solo (Wolfram's song) and the trombone solo (Wolfram's song of Tannhauser) were both capably played, but Mr Coombs, in the former, quite excelled even his efforts on previous occasions. The flute and oboe passages were also played with marked skill. Massenet's suite " Scenes Pittoresques," must also be ranked as a capitallyrendered performance, the beautiful Angelus movement being quite exquisitely treated. Donnizetti's *' Don Pasquale," the overture to the " Barber of Seville," " Anachreon," and a swinging march — "Off to work" (Richartz) — were the other orchestral contributions. The solo portion of the pio^rarnme was entrusted to Mrs W. Manson. The lady appeared to ba in exceptionally good voice, and she gave what may unreservedly be described as an artistic interpretation of the " Jewel song," from Faast. The trying music was sung with faultless execution and tender expression, and tha vocalist's effort evoked quite a demonstrative outburst of applause. Her second solo — Stutzman's dainty, piquant " Vanika "" — wa3 rendored with captivating archness and naivete. The accompaniments were played by Mr A. J. Barth with his customary skill. -Mr James Coombs occupied his usual place on the conductor's stand.