BEAUTY OF ORGAN MUSIC

Southland Times, Issue 24597, 20 November 1941, Page 6

BEAUTY OF ORGAN MUSIC

PROGRAMME GIVEN BY DR GALWAY

Recitals on the organ are rare in Invercargill, but it is probably not only their novelty which attracts large audiences on the few occasions on which they are given. There is a genuine love of organ music among a large section of the citizens, and it was not surprising that the recital given by Dr V. E. Galway, Dunedin city organist, given in St. John’s Church last night, attracted a large audience in spite of the unpleasant weather. Dr Galway exploited the resources of the fine instrument in a delightful manner and presented a well-balanced programme, ranging from the great classics to modern atmospheric works. He showed considerable discernment in his selection of stops and gave a fresh insight into the beauty of some well-known works. In the delicate shading of some of the modern music, Dr Galway achieved effects of rare grace and charm. PurI cell’s magnificent Trumpet Voluntary I and Bach’s great Fantasia and Fugue in G Minor were among the weightiest works on the programme. The voluntary was played with a triumphant flourish and the intricacies of the fugue wer brilliantly outlined, but inevitably in such massive music there was a loss in the clarit” which provided the great charm of less pretentious works. The “Evening Song” by Bairstow, the Pastorale based on the first verse of the 23rd Psalm and the Prelude on the Welsh hymn “Rhosymedre” by Vaughan Williams were striking examples of beautiful tone production. Their daintiness was emphasized by the skilful use of stops and melodious freshness pervaded their performance. “The Morning Star” and “Radiant as the Sun,” both by Dallier, were two wellcontrasted atmospheric works. The programme also included Rheinberger’s Toccata in C and Healy Willan’s Epilogue. The organist was assisted by Miss Dora Drake, of Dunedin, who sang three of ihe greatest soprano arias in oratorio. Purity and sweetness of tone characterized her singing. She began with the dramatic “Rejoice Greatly” from “The Messiah” and then sang the funder and soaring “Come unto Him.”

Later she sang “Hear ye, Israel” from Mendelssohn’s “Elijah.”