ORCHESTRAL CONCERT

Taranaki Daily News, 23 July 1929, Page 11

ORCHESTRAL CONCERT

SUCCESSFUL MUSICAL EVENING.

NEW PLYMOUTH -SOCIETY’S WORK.

The New Plymouth Orchestral Society’s first concert of the 1929 season was held in St. Mary’s Hall, New Plymouth, last night. 1 The hall was practically filled. It wah undoubtedly plea-s--ing to see the society which two years ago seemed almost perishing from the chill of public apathy receive such a warm welcome. The previous listlessness had quite vanished and the staunch little band of musicians won their honest reward at last in the genuine pleasure their audience found in the excellent programme presented. The orchestral pieces were attractively varied with items by accomplished artists, Aliss Edna King (Wanganui), Miss M. Fearn, L.R.A.M., and Miss B. Haddon, L.T.C.L. ■ ‘ From the moment the strings made the soft-sustained glide into the overture, “The Merry Wives of Windsor,’* it was clear .that no scrappy, skimped work was to be offered, but rather the polished, satisfying stuff that comes from sheer hard practice. The deep ’cellos shepherded in the theme, the clarinet embroidered it, and the violins swept it up and carried it into tho woodwinds who prettily tossed it back. Then the whole orchestra entered, in unison, m a colourful allegro. Thera was a ring about it and body to it ' and the hush of appreciation followed the rousing treble forte finale. The restraint of -good artistry was evident in the soft, melancholy melody of Donizetti’s “Lucia di Lammermoor.” The theme gently rose and fell - from the clarinet to the pizzicato accompaniment of the strings. The oboe and fluto dwelt on it for a moment and’ then the strings swelled tho volume, clear and strong. Full orchestra rang out, there was a dramatic .pause and then the final fortissimo chords. “Sweet Jasmine” (Bendix) closed the first half of the programme and:really, . it might just as well have been played during the interval which followed. It was the only disappointing item l of an otherwise excellent programme.' Not that it was played badly; it was played much better than it deserved; There was simply nothing to it, no melody, no originality. It was empty. Fortunately “Sweet Jasmine” was soon forgotten in the fine, broad flow of the- “Hungarian Lustspiel.” There was a splendid even entry followed by a clarinet and flute duet'and the strings played a pretty tremelo accompaniment to a florid flute cadenza. In a brilliant' allegro the time switched suddenly to duple time, with smart, powerful sfor-. zandos. The melody was deepened and enriched by the brasses and the whole piece closed with a brilliant scamper by the fiddles in piu mosso. - The vivid colour of Spanish. art jwaiy well presented in Moskpwsky’s- Spanish. . Dance No. 2. Opening quietly with a clarinet solo in a minor key, there -was a change, to a glowing major section for full orchestra. Then, unexpectedly, there was a swift return to the queer minor, key hy. clarinet and. flute. The - . piece was definite and animated. Light and shade were delightfullyachieved in the charming “To Spring,” by Greig. The theme was brought out delicately fashioned like a rainbow by the strings, while the woodwinds played an accompaniment as fresh as a soft shower. There was a rich appassionata interlude, as if the door was being slammed in winter’s face, and then the gracious melody returned, gay, . light-footed, ending with two beautiful, pianissimo chords. ; The musical dramatist Van Suppers “Morning, Noon and Night” was the last item of the evening, and the majesty of the movements made a fitting close. Sharp, keen chords opened, the . piece, sliding into a duet by .clarinet and ’cello. “ A string interlude followed and a short flute duet led into a jolly movement, tingling with warmth. A bugle "call started flip strings into; brilliant rush- and the. whole piece finished with, a positively glittering finale. Mr. It. George was a capable conduc-

tor. Owing to the Illness of Mr. F. Baird, a large share of the supporting programme fell on the shoulders of Miss King. Her work was cultured and remarkable for depth of feeling. Possessing a strong voice of wide range, she disciplined it with excellent control. Songs so wide apart in expression as the “Lament of Isis” and “Where the Bee Sucks,” she sang with equal ease and ability. Miss Fearn was .heard for all to short a time in Chopin’s “Mazurka in B Minor," and an airy fantasy from Tsehaikowsky. The notes rippled out beautifully under her supple fingers. Portia's quaint and very modern description of her suitors was given by Miss Haddon, followed by a dramatic incident in the life of Pagamnn Her . voice was clear and pleasant and her expression splendid. ‘ ~..