DUNEDIN PHILHARMONIC SOCIETY.

Otago Witness, Issue 3655, 1 April 1924, Page 69

DUNEDIN PHILHARMONIC SOCIETY.

FIRST CONCERT OF THE SEASON. It was very evident from the appearance of the interior of His Maiesty’s Theatre on Wednesday, when the Philharmonic Society gave the first concert of the season, that very few subscribers to that popular musical body could have been absent. The theatre was filled to overflowing, and the audience was in the humour to be entertained and appreciate both the playing and singing. Signor Squarise had on this occasion secured the services of a band to assist in the production of at least one of the orchestral items, and in that the band proved invaluable. The concert opened with the playing of the National Anthem, following which came Haine’s triumphal march, “The London Scottish,” which, to a large extent, bore a close resemblance to Scottish music in a somewhat modernised form. Like practically all marches played by the Philharmonic Orchestra, “The London Scottish” was a great success, the well-marked march lime of the composition assisting in keeping the instrumentalists well together. Litolff’s overture symphonique, “Maxmilian Robespierre,” while well played, was not altogether a uniformly good performance. It is a difficult composition for any orchestra, and is of a highly descriptive class. It is a musical expression of the tyrant Robespierre’s short reign of terror over the French people, and introduces mourning for the victims of the guillotine, the committal of mad outrages, and the fall and execution of Robespierre. .From that alone it can readily be understood that the music varies considerably in character, and that an orchestra is severely tested in its interpretation of such a work. In certain sections of the overture the Philharmonic Orchestra playlpd remarkably well. The allegro movement in the early part of the composition was most commendably played, and the “Marseillaise,” which is introduced, was given with telling effect. Tire clamouring of the crowd for the tyrant’s death was well illustrated, and a special feature, though a brief one, was the fanfare of trumpets. The symphonic poem, “Hymn to the Sun,” by Mascagni, is also of the descriptive school, yet differs widely from the overture just referred to. It is a depiction in music of night, dawn, daybreak, sunrise, and day, and was better played than the Litolff selection, in that the performance was a more even one. The episode in which the sun rises was finely performed, and the orchestra excelled in its playing of the closing depiction of broad day Signor Squarise has not only a reputation as a conductor but also as a composer and anyone who has heard his “Military Caprice” will acknowledge that lie is entitled to rank as a composer of no mean order. The “Caprice” last evening was given on a more elaborate scale than previously, and it was here that the services of the band were of conspicuous value. The description of the battle and the bayonet charge were most effectively played, and the “Garibaldi Hymn,” the “Royal Italian March,” and the “Hymn of Victory” weie exceptionally well treated. Perhaps nothing in the “Caprice” was more effective than the andante descriptive of the last words of a dying soldier. So pleased was the audience with this selection that a portion of it had to l>e repeated. The orchestra played the reverie by Luigini, “La Voix des Cloches” admirably. It was certainly amongst the most welcome selections heard during the evening, both on account of its beauty and the admirable way it was played. , The remaining orchestral item was Rachmaninoff’s well-known “Prelude,” with its massive chords. The “Prelude” was exceedingly well interpreted. Mr W. Mitchell is scarcely equal to giving more than a fair rendering of such a song as Gounod’s “Lend Me Your Aid.” It was a creditable effort, however, and won for the singer very warm applause. Mrs Lawson Broad’s first song was “One Fine Day,” from '“Madame Butterfly,” to which a violin obligato was supplied by Miss S. Bayley, and was very well rendered by Mrs Broad, although it was surpassed by her subsequent songs, “The Market” and “The Piper oi Love.” These were brightly and prettily sung, and secured for Mrs Broad an imperative recall; an excerpt from “Carmen,” also very well given, being supplied by the lady. A choir of 14 gentlemen (pupils of Mr J. Leech) sang “The Rosary,” but the arrangement was not very attractive. A quartet drawn from the choir also sang a humorous ditty, “A Catastrophe,” which completely took the fancy of those present and had to be repeated. Signor Squarise occupied the post of conductor, as usual, and Miss M. Frazer was the accompanist.