N.S.W. STATE ORCHESTRA.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1551, 15 January 1920, Page 32

N.S.W. STATE ORCHESTRA.

A GLORIFICATION OF MUSIC.

MEMORABLE PERFORMANCES

An epoch in the musical annals of the Dominion is marked by the visit of the New South Wales State Orchestra, and Auckland which was selected for the opening of the tour, has listened with wonderment to the matchless harmonies of this famous organisation which has for its inspiration Mr. Henri Verbrugghen. The first concert, eagerly awaited by keen music lovers, proved to them what absolute perfection in orchestral treatment means, a veritable glorification of music firing them to outbursts of tremendous enthusiasm. As a preliminary to the opening, Mr. Harry Hemus, the veteran viola player, welcomed the orchestra on behalf of local instrumentalists, and called on the audience to join him in a hearty greeting. Music, he said, had been likened to a temple, and of the builders of that temple in this outpost of Empire there were four men whom he could refer to as typical of the pioneers in the purest of all the arts —Francis Dart Fenton (absent), Joseph Brown (absent), Rev. Samuel Edger (absent), and Henry Brett (present, and still an active participator in the musical life of the city). It was the work of these men which had made it possible for the generation of to-day to appreciate and understand what was expected from the visit of the instrumentalists to Auckland. Mr. Verbrugghen acknowledged the welcome in a few feeling words. Then the melodic forces got to work, charged as if by magic through the supernatural mastery of the genius, whose commanding glance not only seemed to control each separate instrument, but to pierce the very mind and understanding of each individual player. Such amazing resource and imagination they displayed in their interpretations, such whole-souled devotion to the visualising of the theme, and such bewildering effects in expression, one felt that here art had reached its sublimest heights, and conductor could have no more eloquent tribute to accentuate his intuition and greatness than in the magnificent response made by his players. The orchestra —each one a soloist of distinction — consists of 16 first violins, 16 seconds, 6 violas, 6 ’cellos, 4 basses, 3 flutes, 3 oboes, 3 clarionettes, 3 bassoons, 4 horns, 4 trumpets, 3 trombones and tuba, 1 harp and 5 percussion. Beethoven’s overture “Leonora No.

3” was selected for the first number, its remarkable complexities and striking beauties, its moods of passion and exultation, getting a hearing which transported the audience into a rare atmosphere of sublimity, and arousing them to a spontaneity of applause seldom heard. A delicate rendering of the Tangi from Alfred Hill’s “Maori Rhapsody” followed, the New Zealand composer acknowledging an ovation on its conclusion. Two Wagnerian preludes from “Lohengrin” were given with magnificent results, and there was such a clamorous outburst of approval that No. 3 had to be repeated. The piece de resistance was the famous “Pathetique” (Tschaikowsky), the author’s conception being emphasised with a compelling sureness and tensity that was- positively thrilling, and dominating it all was Mr. Verbrugghen, master of every situation. Madame Goossens-Viceroy sang with artistry and brilliance “Softly Sighs,” from “Der Freischutz,” and “Depuis Le Jour,” from “Louise,” and was deservedly recalled. “God Save the King,” as played by the orchestra, gave fresh meaning to the National Anthem and incited the audience afresh.

After such a sensational debut music-lovers were galvanised into renewed manifestations of interest, and, with an intervening concert at Hamilton, local recitals were resumed on Friday, Saturday and Monday, when further triumphs were recorded in the presentation of Wagner’s opera “Tannhauser,” Boccherini’s “Minuet,” Saint Saen’s “Phaeton,” Weber’s “Oberon,” Berlioz’s “Faust,” Liszt’s “Concerto No. 1 in E Flat,” Tschaikowsky’s “Casse-Noisette,” Mendelssohn’s “Concerto in E Minor,” and other classical gems. M. Albert Goossens was the soloist on Saturday night, disclosing a well-regulated and cultured voice and a personality adequate to meet the requirements of “Rigoletto” (Verdi), “Eri Tu” (Verdi) and “Largo al Factotum” (Rossini). The Verbrugghen String Quartette — Mr. Verbrugghen, first violin; Miss Jenny Cullen, second; Mr. Nichols, viola; and Mr. Messeas, ’cello —gave a recital of chamber music on Monday afternoon, and a record of triumphs was concluded with a memorable performance of “The Messiah” on Tuesday night. New Plymouth will be the next town visited. Mr. John F. Bennett (local secretary) and Mr. Alexander Geddes (assistant secretary) did yeoman work for the cause, which was so ably energised by the Dominion organiser, Mr. H. Gladstone Hill.