ORCHESTRAL CONCERT

Timaru Herald, Volume CXXXVII, Issue 19604, 26 September 1933, Page 2

ORCHESTRAL CONCERT

HIGH CLASS INSTRUMENTAL AND VOCAL WORK. Closing on the triumphant note of rich Wagnerian sonority, and delivered literally by a fanfare of the organ-like brass that constitutes the backbone of the splendid musical combination under the direction of Mr W. a. Osborne, the concluding concert of tne eighth season of the Timaru Orchestral Society last night, made musical history in Timaru. It can be said without exaggeration that the programme, presented before a house so crowded that the officials of tn Society should take courage in the musical future of the town, was one of perfect leavening of orchestral and vocal elegances. It was a memorable concert, indeed. The programme, selected and arranged with rare taste and discernment, was presented by orchestra and assisting artists alike with musicianly finish and consummate artistry. It is doubtful if any concert, so even in quality of perfonnance has been offered during the Society’s eight years of activities, indeed, the work of orchestra and vocalists attained and maintained a high ’plane of production; the orchestra, under the conductorship of Mr w. H. Osborne, may be said to have excelled itself by the high quality ot its work. , , . The Society was most happy ana indeed extremely fortunate in the choice of the assisting artists. Mr Hubert Carter, of Christchurch, has long since almost enshrined himself in the hearts of the music-loving people of Timaru. The spontaneously friendly reception he was given last night was demonstrative of popular appreciation of a fine singer’s personality and art. Miss Millicent O’Grady, also of Christchurch, who came with high recommendations which she justified, soon sang her way into the hearts of the large audience. Possessed of a delightfully sweet voice of rare quality and wide range, Miss O Grady revealed herself as a finished vocalist of much promise, with the gift of that indefinable something, called personality for lack of a better name. Equally at home in operatic selections as m delightful songs, themed on the more popular note, Miss O'Grady was given a flattering reception. The Work of the Orchestra. The orchestra immediately swung into a fairly co-ordinated effort in Teike’s "Old Comrades March, although the brasses showed a little tendency to assert - themselves too powerfully. The most attractive overture from Rossini’s “The Barber of Seville,” which followed, was particularly well played, and offered a most effective contrast to the first number. The orchestra introduced a new note mainly reminiscent of the sombre East in the presentation of Haydn Wood’s “Egypta,” a delightfully descriptive suite resplendent of the ancient splendour and regal glories of the days of the Pharaohs. The first movement revealed the moving mystery associated with the wonderful dawns in that land of legend and history. In marked contrast came the second movement expressive of the everyday life in the colourful Africa with its gaiety and brightness, but the last movement breathing the pomp and splendour of the Court of the Pharaohs, gave the splendid brass an opportunity to show its quality, and the concluding movement, full of moods and emotions was almost perfectly interpreted. Opening the second part of the programme with the overture from Von Suppe’s opera “Pique Dame,” the orchestra attained a very high standard, indeed; the well-balanced volume with its light and shade of tonal colouring expressing the changing phases of the movement, gave a perfect finish to a really first-class piece of orchestration, capably and musicianly interpreted. One of the most attractive numbers was a bracket of two pieces of orchestration, mirrored scenes in Norway. The intermezzo, depicting a peasants’ dance was entrusted to the strings, which played really well; indeed, a marked improvement in bowing was seen in this really choice contribution to a first-class programme. The colourful intermezzo was given a dainty touch which served to contrast most expressively with the rousing prelude, which gave the full orchestra an excellent opportunity to show its quality. The number made such an appeal that it was accorded an encore. One of the most delightful contributions to a perfectly balanced feast of orchestral and vocal music was the presentation by the Orchestra of a selection embracing the . principal numbers of the third Act of Wagner's opera, "The Flying Dutchman.” In selecting this piece of Wagnerian orchestration, the conductor put his faith in the players, and he was not discredited. The selection really presents the whole of the third act of one of the most attractive of romantic operas with an appeal which is specially strong, because of its legendary significance. The orchestra, however, rose to heights of excellence in the musicianly interpretation given this very fine work. Of outstanding quality was the solo work, particularly the delightful ’cello solo so expressive of the theme of the movement. The splendid work of the brasses, too, upon which Wagiler always makes such heavy demands, gave a rich and magnificent background to a wonderfully well produced picture of the concluding act of a fine piece of orchestral romance. Right through the selection the team work of the orchestra was excellent; the players, one and all, seeming to catch the spirit of the great composer and give of their best. Probably there has been nothing presented with such perfect finish by the orchestra, to excel the concluding passages of this exacting yet almost inspiring selection, and the orchestra thoroughly merited the emphatic manner in which the large audience showed its appreciation. The Assisting Artists. An artistic success of the highest order was scored by the assisting artists. Mr Carter responded to a popular appreciation by presenting a bouquet of vocal numbers of such varied fragrance that must have been satisfying to the most exacting patron. In the opening bracket, comprising three old English songs, Mr Carter sang with perfect finish and engaging charm. The numbers were judiciously selected to reveal the artistic versatility of the singer; indeed, simple tuneful old English songs were presented with perfect understanding and artistic appreciation of the rare quality of their appeal to music-lovers. “Yarmouth Fair,” arranged by Peter Warlock, was given a real rollicking touch, while Arne’s popular song, "The Lass With the Delicate Air,” was very tastefully interpreted. "The Twelve Days of Christmas,” on a lively theme, made a popular appeal. Responding to a warm recall, Mr Carter sang with rare taste and feeling Liza Lehmann's “Ah Moon of My Delight” from "A Persian Garden." But perhaps Mr Carter’s classical triumph came in that prayerful aria from Massenet's "Le Cid” —the prayer of a soldier who, although despairing, had not lost faith in his God. In this most exacting number Mr Carter rose to the supreme heights of consummate art. All the intense fervour and reverential expressions of the theme were brought out with rare taste. Subdued expression and perfection of tone and tune,

placed this wonderful aria among the gems of a programme resplendent with rare beauties of vocal art. It was a prayer indeed, interpreted with all the qualities that go to make up the true artist. Mr Carter was thrice recalled, giving "Oh Lovely Flower” from "Maritana,” a Russian fragment "Nichavo,” and “The Fairy Tree,” all of which were presented with perfect finish. As her first offering, Miss Millicent O'Grady presented the exacting aria “Regnava nel silenzio” from Donizetti’s tuneful opera “Lucia di Lammermoor.” Imperfect lighting threw shadows on the vocalist’s face and somewhat detracted from the success of this number. Nevertheless Miss O’Grady sang with easy grace and delightful expression. The exacting nature of the great aria held no terrors for the vocalist, who scored an artistic success of the first order. Responding to an insistent demand, Miss O’Grady presented “The Laughing Song” from Massenet's "Manor Lescaust,” Which was charmingly interpreted In the second part, Miss O’Grady delighted an interested house with her artistic presentation of a bracket of three song fragments of the purest artistry. In Bishop’s “Love Has Eyes,” Miss O’Grady sang delightfully. The second of the bracket GwynneWilliams’ “Night Song,” was given a rare touch of studied vocalisation, which marked the work of the artist, and the singer concluded the bracket with a delightful presentation of Grant-Schaefer’s well-known “The Cuckoo Clock.” Responding to the inevitable encore, Miss O’Grady presented “The Last Rose of Summer” and “Poor Wandering One” (Pirates of Quite a daring departure from the customary style of programme was made in the presentation of an operatic scena and duet in costume. In the hands of the average amateur, the presentation of an operatic excerpt in character would be a risky experiment indeed; but Miss O’Grady and Mr Carter showed what can be done when there is a perfect understanding of the theme and the message of the composer is appreciated. The presentation of the scena and duet from the finale of the first act of Puccini’s tuneful yet almost tragic opera “La Boheme” was one of the delights of the evening. The vocalists were in fine voice, giving the work an artistic touch which was enhanced by perfect stagecraft, studied gesture and easy deportment. Both sang with nice feeling and expressive appreciation of the demands of one of the most moving scenes from the fertile imagination of a composer of sweet and appealing music. The singers were warmly recalled to delight with a presentation of Maitland’s arrangement of "The Keys of Heaven.” which was immensely enhanced by action in costume. The accompaniments were artistically and sympathetically played by Mr Stanley Morgan, of Christchurch, who contributed in no mean degree to the artistic successes of the visiting artists. Altogether the final concert of the Orchestral season marks a distinct advance in the work of the orchestra, and the splendid support given by the music-loving community, augurs well for the future of the Society.