First Liederkranzchen Concert Of Season

Press, Volume C, Issue 29498, 27 April 1961, Page 17

First Liederkranzchen Concert Of Season

The Christchurch Liederkranzchen gave its first subscription concert of this season in the University Hall last evening to a large audience, Mr Clifton Cook conducting and leading his forces with skill, and artistic use of expression.

The choir sang with bright and clear tone, and the balance of voices was always maintained. There was an interesting range of levels; but the strong singing was free from harshness, and life remained in the pianissimo passages. There was unanimous response to Mr Cook’s many demands for nuance in phrasing.

The programme began with three part-sings by Alec Rowley. They were well contrasted, and received quite interesting treatment. “The Lord Is My Shepherd,” by Schubert, and “The Graceful Swaying Wattle,” by Frank Bridge, were sung with expressive meaning, beautiful tone, and blending of voices. Both were interestingly performed, but perhaps a slightly faster tempo might have helped in the first one in giving a firmer sense of trust and, in the second, the feeling of the wind which imparted the sway to the wattle. Brahms’s “Liebeslieder Waltzes,” with the duet accompaniment played by Dr. Michael Toovey and Mr Brian Kinley (who was an excellent accompanist for the choir), were quite delightful. The singing had rhythmic verve and colourful, lively, and happy tones. Both the general atmosphere of the whole work and the differences of atmosphere between the various sections were most skilfully brought out. The real spirit of the dance was in this performance. Three traditional English songs, arranged by Dr. Vernon Griffiths, ended the programme. These also were excellently performed, and made very considerable contribution to the programme; but it would have been better to have ended with the Brahms, which roused great excitement and a sense of heightened atmosphere. A fair part of the first half of the programme was sung by the Christchurch Boys’ High School special choir. The boys achieved a most commendable standard of work in spite of the fact that it is still early in the school year. The trebles sang with clear tone and very good enunciation, and must have worked hard to reach their present standard. While all the work showed great care in preparation, the singing of Dr. Galways’ "Let Us Now Praise Famous Men" must be singled out for special praise The tone of the senior boys (excellent in all that they performed) blended splendidly with that of the trebles, and the expression, phrasing and clarity of words were all of a high order.

Roderick Anderson sang with an even, unforced, and clearly resonant baritone voice. He showed style in

recitative singing, and his words were clear. In Handel’s “Hear Me, Ye Winds and Waves,” he showed a good sense of interpretation in making, at his age, such a praiseworthy attempt at what is essentially an adult aria. In the Schubert song, he kept good rhythmical control; and, as wider colours develop in his voice, he should be a useful lieder singer.

Helen Bennington ' sang three songs, accompanied by Dr. Toovey on the harpsichord. She is a well-trained singer with a beautiful soprano voice. It was most refreshing to hear such good technique applied so intelligently. We hope that we shall hear more from her.

The real highlight of the evening was the splendid playing of Bach’s “Italian Concerto” by Dr. Toovey on the harpsichord. In style and elegance, it ranked with his performance recently of the Goldberg Variations. and again showed how necessary the harpsichord is for this music to receive an authentic rendering. This composition itself, however, was not entirely en rapport with the other music on the programme—it was as if the Empress Catherine of Russia had dropped in on a meeting of the Young Wives’ Fellowship. —C.F.B.