THE SHEFFIELD CHOIR.

Wanganui Herald, Volume XXXXVI, Issue 13416, 1 July 1911, Page 5

THE SHEFFIELD CHOIR.

AT WELLINGTON. (Per United Press Association). WELLINGTON, July 1. The Town Hall was again packed last night to the full limit to hear the Sheffield Choir, The part singing was a feature which roused the audience to the greatest enthusiasm, especially the “Bells of St. Michael’s Tower.” in which the effect produced is described by various superlatives. Dr. Ilarriss' composition "Pan,’’ also met with groat favour. The orchestral accompaniment was a great feature, and at the . ond Dv. Ilarriss signalled his warm appreciation to the members of the orchestra. AT PALMERSTON. Those who took advantage of the • nortunity of hearing the Sheffield Ch( at Palmerston yesterday afternoon will not soon lorget the rich treat they were afforded. The concert was held in the commodious A. and P. Association building, which was packed to the doors by an audience, which was at times roused to the highest pitch of demonstrative enthusiasm by the splendid interpretation of the items on the programme. The choir all told consists of C(i sopranos, 52 contraltos, 4.2 tenors, and 27 bassos, making a total of 197 singers, though yesterday about, a dozen or so were absent, including the leading contralto. Miss Gertrude Lonsdale, who will bo remembered as having been associated with Mr Watkin Mills’ concert party when they toured the Dominion. The choir is fairly well balanced. Though th# sopranos arc strong and include many very Hue voices, it is the tenor contingent that stands out moot brilliantly; the foundation of basses shows roundness of quality; and the contraltos, though mellow, particularly in the lower tones, are the weakest section. All the vocalists enter into the very essence and spirit of the music, with the result that the highest -degree of excellence in vocal delivery and clear articulation is obtained. The opening number was a Coronation Ode, spiritedly and artistically sung. This was followed by the.famous Bach Motett for double chorus (unaccompanied), “Sing Ye to the Lord.” in which exacting piece the choir showed an astonishing resource and fluency. The unravelling of the figures, and the confident and successful treatment generally of the complicated and difficult music, set a high standard in choral singing for colonial vocalists. The dramatic sentiment, the magnificent ensembles, the admirable balance, with the bass quality suggesting the iiedal.s of a riehly-toncd organ, the fine diction, the absolute unanimity of attack, and the readiness and clearness with which the intricately interwoven part* were distinguished, irresistibly impressed the large audience in this long and exceptionally heavy piece of music, “And the Glory" and the “Hallelujah Chorus,’’ from the “Messiah,” were also well sung, but it was in the part songs and glees where the famous choir fairly excelled themselves. Such numbers as the well-known old English glee “The Bells of St. Michael's Tower.” “The Long Day Closes” tmalo voices), “Strike the Lyre,” and the “Comrades Song of Hope”—pieces not unfamiliar to members of the Wanganui Lie•lertafel Society and their friends—were sung with a refinement and delicacy of treatment, and with a volume and tone most impressive and soul-stirring. “Th# Bells” was unquestionably a gem, and was a revelation in voice manipulation and modulation. The lieautiful effects resembling the reverberation of bells—the double swell and sustained deerescendo humming and sudden change from forte to piano—fairly captivated the audience, who vociferously encored the item. The soloists wore Miss Jennie Taggart (noprano), Mr Henry Turnpenny (tenor), apd Mr Robert Charleswortli (bass). The former sang with fine voice, which is of considerable power and range, the beautiful “Messiah” solo, “I Know that My Redeemer Livetli.” She was not so successful in th« song “Madness and Gladness,” in which she failed in enunciation, notwithstanding which, however, she was enthusiastically enthusiastically encored and responded with the old favourite “Cornin’ thro’ the Rye.” Mr Turnpenny had his vocal powers taxed to the utmost, in the heavy long runs in “Every Valley." He acquitted himself well in this and in “Comfort Ye My People,” both of which he sang with good judgment. He also rendered “The Trumpeter,” for which bo was recalled. Mr Charleswortli has a fine bass voice, of considcrable power and compass, and lie was heard to advantage in tho declamatory and heavy dramatic “Messiah” music. “Why do the Nations,” which was masterfully rendered, with good colour and vigour. He exhibited deep feeling in bis interpretation of “She Alone Clianneth my Sadness,” singing with decided sympathy and fine tone. The orchestra- was in keen sympathetic accord with the choir, so much so as to reveal in the happiest manner the charming beauties of the works of the great masters. Inspiring indeed was the effect scored in the union of tho instrumental and choral forces, which were masterfully led by Dr. Coward. The concert was undoubtedly a great success, and the visit of the Sheffield Choir to New Zealand should influence more attention lieiug given to ehoral work here. In Australia, as a result of the Ballarat and other annual competitions, choral singing has attained a very high degree of excellence, quite ahead of anything in New Zealand. The Dunedin Society has done a lot to improve singing in New Zealand, and Napier is now taking a hand. When will Wanganui move? It has been talked of for some time. There is no reason why a Society should not be started in Wanganui for tho purpose of holding musical, oratorical, and other competitions similar to those conducted with such great success in Ballarat.