A POPULAR MUSICIAN

Otago Witness, Issue 4041, 25 August 1931, Page 62

A POPULAR MUSICIAN

FAREWELL TO AIR C. A. MARTIN. Since the new Town Hall was completed the public of Dunedin has been provided with an unusually large number of musical enertainments, but it is improbable that the building bas ever previously ’ been the scene of such an enthusiastic gathering as that which attended the complimentary concert which was tendered on Saturday evening to Air Charles A. Alartin, who is about to leave for the Old Country to continue his musical studies. The tribute which was paid to Air Alartin, not only by the musicians and musical associations of Dunedin, but also by the music-loving public, was obvious in its sincerity. “ I know that the people of Dunedin will watch my progress in my studies at. Home,” said Air Alartin at the conclusion of a brief speech at the end of the concert, “ and it will be my endeavour to do something worthy of the city.” Not the least remarkable feature of the concert was the fact that it marked the first public performance of Air Alartin’s own composition, . “ Ode on a Grecian Urn.” This occupied the last 20 minutes of the entertainment, and if any of the

audience had had doubts as to Air Alartin’s musical ability these must have been removed after hearing this brilliant work. Mr Alartin has set to music‘Keats’s weil- - knowrr words in the form of a cantata, and the, ode was presented by three soloists— " Signorina Graziella Rossi and Alessrs J. T. Leech and D. Blair—an orchestra of 34 players, and a chorus consisting of the Dunedin Choral Society, the Alusical Society, Air E. Drake’s choir, Air J. T. Leech s choir, the Maori Hill and Central Mission Church choirs, the Royal Alale Choir, and the Returned Soldiers’ Choir. The performance was conducted by the composer.

Before the ode was presented. Mr W. Daget Gale briefly addressed the audience. He said .that when it was known that Air Alartin was going to the Old Country the musicians of Dunedin decided that they would not allow him to go without making some acknowledgment of his services to the community generally and to the musical world of the city in particular. The size of the audience—which practically filled the hall—showed how high was the appreciation in which Air .Alartin was held.

Later, Air Martin took an opportunity to express his thanks for the manner in which his composition had been received He also referred to the heart}’ maimer in. which the large number of performers had co-operated in preparing for the performance. It had been a great pleasure to him to write the music—a work which had been commenced about a year ago—but it had been a greater pleasure still to conduct the orchestra and chorus at its first public presentation. His joy at seeing so many friends gathered to bid him farewell was tempered with regret at leaving his native land. He had, however, to go further afield in order to extend his studies in his art, and it would be his constant endeavour to do .something of which his native city would be proud. The performance of the. ode was an outstanding musical achievement. The composition is based on a spirited theme which works up to a grand climax on the line—“ Beauty is truth, truth beauty.” and, throughout, the orchestration is of a brilliant character. The solos—baritone. soprano and tenor—were artistically handled by the singers, but the most impressive parts of the performance, tbe choruses, were sung by the massed choirs in a manner which added further laurels to Air Alartin’s reputation as a conductor. At the conclusion of the performance, Mr Alartin was accorded an ovation with cheers and musical honours, and the last portion of the ode was repeated. The 10 items which comprised the first part of the programme proved to be in keeping with the nature of the occasion, lhe programme was commenced with the overture “ Stradella ” (Flotow) played by the Philharmonic Society’s orchestra under Signor Squarise. This composition has been heard fairly frequently on the Dunedin concert platform, but the orchestra was in excellent form on Saturday night - and the overture was presented in a manner calling for high praise. The opening by the wood-winds was effectively dealt with and the concluding movement, which offers some particularly difficult work for the violins was played in a manner which reflected great credit both on the conductor and on the players. This was followed by Gounod's “Sappho’s larewell,” sung by Aliss Alary Pratt, whose beautiful contralto voice has seldom been heard to better advantage. The singer’s delightful treatment of this number was greatly assisted by the sympathetic accompaniment provided by Airs E. Drake. Dr V. E. Galday’s ability at the organ is well known to all Dunedin music-lovers and his two solos were extremely well chosen, the slow, measured, stately air of Cocker’s “ Angelus ” contrasting agreeably with the fast-flowing theme of Widor’s Tocatto, in which the difficult pedal work served to display the organist’s remarkable control over his instrument. Aladame Winnie Fraser was heard in a bracket of songs—- “ Over Night” (Hugo Wolf), and ConnorAlorris’s arrangement of “ Alleluia,” the latter item probably showing the singer's ability to better advantage than the former. Despite a request that encores should not be insisted on, Aladame Fraser was not permitted to leave the'stage before she had sung another item, “ Aly Alother,” which was also accorded very artistic treatment. A very acceptable violin solo was presented by Air J. A. Wallace, the Adagio and Rondo from de Beriot’s 9th Concerto, the player’s double stopping being an excellent indication of his mastery of the instrument. Air G. W. Johnstone’s fine baritone voice was heard in Alendelssohn’s “On Wings of Song,” and this was followed by an enjoyable performance of the overture to Schubert’s “ Rosamunde ” by the Orchestral Society’s Orchestra under the baton of Air A. Walmsley. Air Ernest Drake has long been one of Dunedin’s most popular lyric tenors and he could have made no happier choice of a song than “ Come Into the Garden. Alaud.” His sympathetic treatment of this always acceptable number earned him a recall for which he sang “Take a Pair of Sparkling Eyes” equally well. Air Alax Scherek was heard in a bracket of Chopin solos —-“ Etude in E ” and “Waltz in E minor” —both of which were delicately played. The final item, on the first part of the programme was a duet by Aladame Winnie Fraser and. Air Alfred Walmsley, who sang an excerpt from Alascagni’s “ Cavalleria Rusticana ” in a manner which called for prolonged and enthusiastic applause. Aladame Fraser gave an excellent rendering of her part and Air Walmsley was undoubtedly at the top of his form. The official accompanist was Air W. Paget Gale.