POPULAR MUSIC

Timaru Herald, Volume CXLIII, Issue 20862, 19 October 1937, Page 9

POPULAR MUSIC

ORCHESTRAL SOCIETY’S CONCERT CLOSE OF SEASON In the Theatre Royal last night before a most appreciative audience the Tlmaru Orchestral Society presented the second subscription concert of . its twelfth season. It is not easy, of course, in these moving times, to build up a well-balanced orchestra in a provincial centre like Timaru, but the Orchestra, which presented a delightful concert last night, though by no means strong numerically, still under the capable direction of Mr R. J. Simpson, the Society’s honorary conductor, and the leadership of Miss Leila Greig, maintained a commendable balance in the presentation of a programme of orchestral selections of widely-differing character. Altogether the concert can be regarded as a popular success. The Orchestral Numbers The Orchestra’s contribution to the concert may be said to have been tuned on a popular note. In the main the principal numbers of the programme were known to the most consistent supporters of the Orchestra; indeed, the choice of orchestral numbers was made with regard to the capacity of the instrumentalists. Two numbers standing out in a popular programme were the four movements in the “Peer Gynt” Suite No. 1. These four movements so characteristic of Grieg, in their artistic fantasies, were delightfully played. In the "Pilgrim Chorus” from Wagner’s “Tannhauser,” the Orchestra was given an opportunity to reveal itself as an interpreter of Wagnerian orchestral themes and this tuneful item proved to be one of the artistic delights of the evening, save only for the assertiveness at times of the cornets, which seemed to overlook the numerical strength of the orchestra.

Two delightful numbers made a popular appeal, because of their charm and gracefulness and because the audience obviously welcomed them. In Rodger Quilter’s "Three English Dances,” the quiet gaiety and charm of these dances were delightfully interpreted, the varied phases of dances being given a touch of real artistry. In spite of their departure from traditional motifs, or is it because of the unique treatment of the theme, Ketelbey’s orchestral phantasie are always popular; indeed, such attractive tonal pictures are created in "In a Chinese Temple Garden,” that the attentive listener can almost visualise the passing of the scenes depicted by the composer in his composition. This was a delightful number, and because it made a popular appeal, was warmly encored. Another notable contribution by the Orchestra, representing a contrast in orchestration, . was provided in Schubert’s "Ave Marla,” w|th its haunting motjf. Here the solos were delightfully played first by the cornet and then by the wood-wind. This number was one of the Orchestra’s most attractive contributions. An ever popular number, the wellknown overture from Herold’s littleknown opera "Zampa,” gave the Orchestra a good start, and this was enhanced by the presentation of the quaintly melodious "Valse Badinage,” by Liadow.

The Assisting Artists The assisting artists were accorded an appreciative reception. It is not often, however, that the four principal vocal contributions are excerpts from opera and oratorio, but last night the soloists drew from the wide range between Puccini’s "Madame Butterfly,” to Gounod’s “Faust,” from Leoncavallo’s “Il Pagliaccl” to Mendelssohn’s oratorio “Elijah.” Moreover, although soloists always encounter difficulty in lifting recitatives, arias and principal solos out of their setting in opera and oratorio to present them from the concert platform. Here vocal presentation was enhanced in two numbers by orchestral accompaniments. Mrs W. I. Tait needs no introduction to a Timaru audience; indeed the warmth of the welcome accorded this artistic vocalist, revealed the community’s appreciation of her artistry and personality. In the first part Mrs Tait presented the well-known soprano aria "One Fine Day,” from Puccini’s tuneful opera “Madame Butterfly.” Enhanced by the presentation of the delightful yet restrained orchestration that gave the artistic groundwork to this somewhat tragic incident in the opera, Mrs Tait’s singing was of a high order, the perfect fluency of her vocalisation and her artistic understanding c.' the theme gave this number a touch of rare quality. Responding to an encore, Mrs Tait presented "Musetta’s Song” from Puccini’s "La Boheme,” and here accompanied by the Orchestra, the singer scored an artistic success. In the second part Mrs Tait, again with orchestral accompaniment, sang with charm and grace the glorious “Jewel Song” from Gounod’s “Faust.” In this exacting yet entrancing recitative and aria, the composer has given something of his best, and the singer brought out all the sparkle and beauty enshrined in a delightful piece of opera. This was perhaps the outstanding contribution to a popular programme; indeed, it was a glittering jewel of polished vocalisation and perfect interpretation. In response to a double encore Mrs Tait sang with easy grace Rogers "The Last Song,” and another fragment of song. Mr Noel Burtt, of Christchurch, who possesses a voice of good quality and wide range, set himself a difficult task in presenting two such exacting vocal works as the prologue from “Il Pagliacci” and Elijah’s Prayer from Mendelssohn’s great oratorio. Both numbers are so well known as to demand finished treatment to satisfy a discriminating audience. It is interesting to recall that in the original production of the oratorio at Birmingham, Elijah’s Prayer “Lord God of Abraham, this day let it be known,” was supplemented by a quartet of angels who sang a number which Mendelssohn did not like, because he said it sounded too much like a Lutheran chorale, and somewhat incongruous in a work otherwise based on selections from the Old Testament. The introduction of the angels’ chorus suggests the atmosphere that should be created by the singer. Although Mr Burtt sang interestingly, he was hardly equal to the demands this great oratorical number makes upon the singer. It was the test: ‘‘The God who by fire shall answer let him be King,” demanded Elijah, and his

prayer meant everything to the Prophet. Mr Burtt did not seem to become infused with the spirit of the Prophet. In the “Prologue,” Mr Burtt sang convincingly and revealed a large measure of talent and in reply to a double encore he sang Sanderson’s "Shipmates o’ Mine," and "Linden Lea,” which he presented with rare charm. But perhaps Mr Burtt’s best contribution was his masterly presentation of Cherry’s “Will o’ the Wisp.” In. this he revealed hitherto undisclosed qualities of vocalisation and interpretative ability, and he scored something of an artistic success in his muslclanly interpretation of this fine song. In reply to an encore Mr Burtt sang most acceptably Vaughan WUllams’s “The Vagabond.” The accompaniments were artistically and sympathetically played by Mrs G. A. Martin.