“THE DARKEST HOUR”

Southland Times, Issue 21658, 21 March 1932, Page 4

“THE DARKEST HOUR”

NW CANTATA PERFORMED.

METHODIST CHOIRS’ SUCCESS.

On Saturday evening, in St. Peter’s Church, Elies road, Harold Moore’s cantata, “The Darkest Hour,” was performed by the combined Methodist choirs and friends, under the conductorship of Dr Stanley Brown. “The Darkest Hour” is a modern setting of the Crucifixion theme, written for four solo voices, male quartet, and choir and is more elaborate than the well-known Stainer’s “Crucifixion.’/ It is divided into a prologue dealing with the journey to Jerusalem and Jesus’s conversations with his disciples, four scenes, Gethsemane, the trials before Caiaphas and Pilate, on the road to Calvary, and Calvary, and concludes with an epilogue dealing with the exaltation of Christ. While there is a deep religious sense running through the whole cantata, the composer shows remarkable variation in his treatment of the different aspects of the last days of our Lord. In the prologue a male quartet (disciples) is used effectively with baritone solo (Jesus), and is followed by a soprano solo with choir accompaniment, “God so loved the World,” a fine piece of writing. The choir sang this with good tone and feeling, but it was somewhat marred by an occasional divergence in time between choir and soloist. Gethsemane is delegated to the solo voices, the bitterness being well brought out, and concludes with a hymn in minor setting. The trial scene calls for much dramatic treatment, dealing as it does with the accusations of the Jews, the questionings of Caiaphas and Pilate, and the replies of Jesus. This is a particularly well conceived scene, and the combination between the four solo voices and the choir was excellent. Then follows the processional march to Calvary with the chorus, “Surely He Hath Borne Our Griefs,” introducing two melodies which are eventually combined in one glorious chant of triumph. Calvary opens with the discordant revilings by the multitude of the crucified Jesus, followed by the death scene, and another delightful male quartet. The unaccompanied chorus, “It is Finished,” leading into a duet for soprano and tenor with choir accompaniment, “O Saviour of the World,” forms the climax of. . the cantata, and is undoubtedly a magnificent piece of choral composition. On Saturday evening it was sung delightfully by both soloists and choir. The epilogue consists of a soprano recitative of Christ’s exaltation into Heaven, and concludes with a triumphant hymn. Mrs F. R. S. Petrie in the part of “narrator” had a full evening’s work and in addition sang the solo part of “God so loved the World” and was associated in the duet “O Saviour of the World’ with Mr Farley and the choir. Her voice was rich and full and, apart from a slight tendency to hurry on occasions, her interpretations were excellent. Mr Rewi Kingsland, as Jesus, sang with feeling and restraint and his voice was admirably suited to the part. Mr W. H. Farley sang the part of Pilate with good dramatic force and helped to make the success of “0 Saviour of the World,” while Mr F. H. Johnson dealt effectively with the small part of Caiaphas. The quartet consisted of Messrs Farley, Brown, Olds and Taylor. The organist was Mrs A. E. H. Bath. Altogether, “Hie Darkest Hour” is a welcome addition to the store of Easter music. 'Die cantata will be repeated on Tuesday evening in the Central Methodist Church, Leet street.