ORCHESTRAL SOCIETY.

Press, Volume LXIII, Issue 19178, 8 December 1927, Page 2

ORCHESTRAL SOCIETY.

SUCCESSFUL CONCERT. A commendable choice of great music was Bet before the patrons of the Orchestral Society last night, including two new introductions. The customary Symphony was replaced by its nearest relation, the "Symphonic Poem," programme music of romantic design. If it is doubtful whether Berlioz or Liszt can claim priority in its evolution, Liszt was undoubtedly its most resolute champion and producer. Illustrative of de. fined poetic subjects, it claims freedom from the Symphony's classic and unelastic forms. First on the programme came Richard Wagner's "Rienzi" overture, broadly martial, brassy, and noisy, screaming for the new Concert Hall. It was given a spirited performance. Then followed his "Siegfried Idyll." There lies a tremendous gulf between the Wagner of Itienzi and the Wagner of "Siegfried." In the conception of Kienzi he laboured, yet undor the influence of Meyerbeer, all dominant then in an opera world, feasting on its pageants, its riots of sound and colour. But immediately afterwards he cast off all traditions; and he stood forth as the mature re-creator of opera on grounds of legendary lore surrounded by wonders of orchestration and scenic realitsm. Often imitated, he is still unrivalled to this day.

The "Siegfried Idyll," long famous among extracts from Wagner's operas, produces an almost quaint effect with its adopted lullaby and the peculiar mode of its orchestration. The orchestra performed it creditably, but it will be found on repetition that the last word had not been spoken last night. To Liszt's finely-designed and orchestrated "Les Preludes" we were indebted for the best, the most perfect, and taste, ful performance of the evening. Everywhere, but particularly in this "Symphonic Poem," Mr Angus Gunter'a skilful, exacting preparation, and his energy by which he guides his orchestra are apparent, and it becomes more and more ovident how this continuous expert care and fastidiousness has permanently and substantially raised its standard. Hungarian Airs appealed strongly to Liszt. His Rakoczy March, given with spirit, is undoubtedly clever and attractively set. Finally, Sibelius's stirring "Finlandia" was repeated. Mr T. B. Riordan acted as leader, and again the services of the artists voluntarily supporting the orchestra deserve special mention, comprising Mrs R. Twyneham, Miss Irene Morris, Mr Harold Beck, Mr H. G. Glaysher, and Mr H. Fox.

As vocalist was engaged Miss Vivionne Ralph, who sang a variety of songs by Schubert, Schumann, Brahms, and Greig, also two of Besley's. There is much sympathy in her voice, _ and ample tone for modulation. But in her first group the steadiness of her voice seemed affected by tho old enemy of debutants, although in Brahms's charming "Sunday" she had somewhat recovered. But there is a disconcerting habit of bringing out single notes explosively. Brahms's '"Sunday," Schumann's gem, and Grieg's "First Meeting," also Besley's "Thy Hand in Mine" were her most appealing songs, including some very charming effects. She was sympathetically and reticently accompanied by Miss Francsu Hamerton. A crowded and very appreciative audience was present at the Choral Hall.