SUPPLEMENTARY MUSICAL NOTES

Wanganui Chronicle, Volume LXXXIII, Issue 20168, 9 June 1928, Page 4 (Supplement)

SUPPLEMENTARY MUSICAL NOTES

By Sharp. ”) Lovers of concerted \ocal music are lokoing forward to the Choral Society’s concert next Wednesday. From past experience those who attend know that whatever numbers may be chosen for tho programme they have been prepared with a thoroughness that leaves nothing to chance. An English musical artist was once asked what he thoughtsome of the great. London conductors could do with our local musical bodies, end he replied that they would probably do no more than the best conductors do. if they did as much, as they Would lack the experience* of dealing with immature material and amateur performers. I consider that Ur Slater gets the last ounce out of his choir and he has the habit of obtaining striking effects. Next Wednesday’s ]irogramme which includes dramatic and striking works, such as the “Song of the Vikings,” “The Soldiers’ chorus,” “The Death of Parnassus,” with strong con t vasts such us “Evening,’’ “Silent O Moyle’’ ami “ Lep Shore’’ caters for all tastes. A negro melody arranged by Mr Slater —“Massa's in de Cold Ground” —completes the choral section of the programme. The abilities of Mrs Wilfred Andrews ami Signor Lucien (.'esaroni n v <‘ too well known to require further mention.

Great merriment was caused amongst the members of a certain instrumental body recently. When it was announced in the “proof” of a concert programme that one of their number would play the “symbols.’’ It was suggested that he was preparing to become a Freemason!

* * * * AT. Moi sei wit sch would have found it difficult to choose a programme with a wider appeal than that given on Tuesday' evening. Hardly anyone could have heard all the numbers for thp first time. What delightful pearly runs and delicate pianissimos we had! Everywhere one heard comparisons with Backhaus or Friedman. Of course, these players differ widely in their characteristics, and comparisons are therefore almost impossible. If one felt that Moiseifwitsch's Beethoven was a suave gentleman compared to the rugged character that Backhaus gave him, and our most recent visitor did not indulge in th' l mighty dynamics of Friedman. yet there was poetry and beauty in everything presented. What a delightful piano! For once Wanganui rose to the occasion and provided an audience that was almost worthy of the artist, numerically, and one that listened with intelligent silence.