CHORAL SOCIETY.

Taranaki Daily News, 17 September 1924, Page 3

CHORAL SOCIETY.

"HAYDN’S CREATION.” Papa Haydn, as he was affectionately and most frequently called, wrote only one work which may reasonably be designated a sacred oratorio, and though at different times other compositions were penned which usually come under this heading, in the popular use of the term, the “Creation” is his onlv oratorio, and in thinking of his vocal compositions the “Seasons” takes second place to the work give n last evening by the New Plymouth Choral Society. “The Creation” occupied a considerable period of the composer’s later life. It was commenced in 1796, when he was 59, and i completed in April, 1798. It was first performed in Vienna April 29, 1798. It appears that the book of words was first intended for Handel, being selected from the book of Genesis and Milton’s “Paradise Lost”; but was shown to Haydn by Mr. Salomon, shortly before the composer left London at the close of his first visit. The impression its performance created on his audience was most profound, and the entire proceeds, amounting to rather more than £3OO, were handed to the composer. The first English performance was given by. the “Three Choirs,” Worcester, 1800, Hereford, 1810 ,and Gloucester, 1802; and from that time its popularity steadily increased, reaching a climax about 1870, when'for long it had held a position in the public esteem second only to the “Messiah.”

The orchestration shows a marked advance from former works by the same composer. The music assigned to the wind department no longer duplicating the string section, as is so often to be noticed in his symphonies, and though there appears to be no definite attempt at tone colour, as is shown in the writings of modern composers, there is at. the same time a considerable independance and freedom given to this most interesting, department of the orchestra. A very interesting illustration of this is the trio for soprano, tenor and bass “On Thee each Living Soul Awaits,” where the greater portion of the accompaniment is given to wood wind alone. In most of the recitatives the accompaniment is indicated in the score to basses alone, only occasionally a string part of violins and viola being added; in the published vocal score these meagre accompaniments are supplemented by a part evidently intended for a clavier instrument though no mentio n is even made of the intended use of an organ. The presence of their* Excellencies the GovernqrGeneral and Lady JelHcoe with their suite, being particularly gracious, considering the wet and boistorous night, secured for the society one of the best houses they have experienced for many occasions. The audience showed much interest in the work of the society, the solo voices, particularly the baritone, being singled out for approval. The whole perwas on a very high plane of excellence, the choral body being firm and decided in attack, the tone surprisingly rich and full. The articulation showed a marked improvement in every way, and the chorus are to be heartily congratulated on their splendid result, reflecting great credit on their conductor, who had evidently spared no pains to produce a wellfinished work.

In the accompaniments required for a work of this nature, so eminently unfitted for tonal reinforcement by an organ, the lack of adequate orchestral playing was a very decided weakness, and militated very considerably to a thorough enjoyment of the work; indeed, the introduction, “Representation of Chaos,” was almost unin- , telligihle from this cause, the tone colour required going so very far to give a fitting conception of the real nature of the movement. Such players as were available did the best that was in them, but the absence of some many instruments was a gap that no piano playing, however brilliant, could in any way compensate or fill up. A note is one thing, tone colour is something very different indeed. Of the soloists the pride of place must fall to Mr. W. Watters, who sang i n true oratorio style, was in excellent voice, and evidently gave of his very best. The range of the music is very considerable, demanding the fullest resonance from every part of the compass of two octaves. Both in solo and concerted numbers he was a great pleasure to listen to. Mr. A. H. Ripley has been heard before here, and probably to better advantage. It would be interesting to learn whose libretto he used, there being often considerable difference between the accustomed vocal score and the words he sang. Oratorio is very different to ballade singing, and demands a mental grasp of that particular style in order to maintain the same atmosphere between all the different sections of the work. The music for tenor is very exacting and makes great demands on the njusicianship as well as the vocal ability of the singer. Mrs. J. F. Woodward was the solo soprano, and this was the first occasion she has appeared here. She has a good true soprano voice, of excellent range and power; her enunciation was generally clear, but .*4lO undoubtedly exaggerated vowel sounds and at times was unpleasant. With wider experience i n oratorio style, Mrs. Woodward should prove an acceptable soloist, the frequent use of apportamento, and the variations from the notation, as is the custom in the messiali solo work, is open to question; but the solo work is very exacting and several of her solo numbers were a great pleasure. Miss Douglas did good work at the piano, steadying what was at times a rather weak string section of the orchestra. Had her sustaining pedal not given, her so much trouble her work would have been excellent. Mr. Cooper must be congratulated on the success of the evening’s programme. He conducted an exacting work with very commendable care and at times got some magnificent effects out of his chorus. The National Anthem was sung at the opening and at the close of the programme.