'Lay of the Last Minstrel.'

Observer, Volume X, Issue 604, 26 July 1890, Page 17

' Lay of the Last Minstrel.'

The above work, coming as it does from the pen of a composer so young as Hamish MacCunn, is undoubtedly a moßt meritorious one. Though Mendelssohn and Gade will occasionally assert themselves — the instrumentation of Gade, the phrasing of Mendelssohn— this but speaks of the bias of MaeCunn's mind and the effect of previous congenial study. The following remarks of ssir Geo. Ousely may be aptly quoted in reference to this young composer ; — ' Never rest satisfied with any composition, however good may be its harmony, form, counterpoint or instrumentation, unless it is founded on regular and interesting melodies,' Again, he says, ' Equally to be deprecated is that false feeling of independence which sometimes prompts composers to dispense with all regularity of form whatever,' Both remarks are app'icable to this new work, for the fiwt time performed by the Auckland Choral Society. This work of MacGunn's displays considerable conception of dramatic effect in excellent instrumentation ; but we can scarcely call it melodious. The solos, rendered by finished professionals, who know how best to use the material at hand, and who would give perfectly true intonation to the very difficult inharmonic cnanges and intervals (prohioited by teachers to early students) would produce a different effect than when rendered under less favourable circumstances. We must not lose sight of the fact that MacCunn is but a very young man, and now commands success througn his natural ability and knowledge. As he ripens, lie will no doubt, like most great masters, improve in style, molody, continuity and originality. The whole character of the music of this work strikes the ear as thoroughly Scutch. The change from a minor to a major mode, returning to the former, occurs in rapid succession in several places — a change that to us seems harsh, but is not without good effeot— and does not justify the assertions of some historians that ' the Chinese and Scotch scales are closely allied.' The object of these remarks is not so much to criticise this excellent work as to call attention to the intricacies and difficulties our amateurs have to contend with when bucli works are selected for their rehearsal. A backward glance at the Choral Society's programme for the past year would bring conviction that such selections continued must weary both performers and honorary members. The judicious introduction of works of a somewhat lighter oharaster would be of far greater use in facilitating- the objects of this Socie.ty than such overdosesjof' scientific modulations.'