Choir Sings In Memory Of Accompanist

Press, Volume CVI, Issue 31084, 13 June 1966, Page 14

Choir Sings In Memory Of Accompanist

The Christchurch Liederkranzehen, conducted by Mr Clifton Cook, began its programme in the University Hall on Saturday evening with Schubert’s “The Lord Is My Shepherd.” This was sung in memory of Mrs Alice Stubberfield, a former accompanist and deputy-conductor of the choir. It was sung with commendable attention to expression—although a softer general level might have been better—and with careful phrasing. Some excessive vibrato detracted from tonal attractiveness and a faster tempo would have given more flow.

Ngaire Johnston sang Schubert’s “The Almighty” with

excellent clarity of words and with understanding of the song’s dramatic possibilities. With the choir, she was the soloist in Schubert’s “Serenade.” This work flowed along most happily with fresh and gay tone, well balanced and splendidly adapted to the atmosphere required. Four Spring Idylls by Alec Rowley, sung by the choir, were of closely-woven and attractive texture. The members of the choir sung them with well-disciplined and unanimous response to Mr Cook’s artistic directions of colourful expression and shaping of the music. The contrasting atmospheres were captured with deft touch.

Christopher Doig’s promising and well-controlled baritone voice was heard to advantage in “Oh Death,” from the “Four Serious Songs” by Brahams. He moulded the long phrases with technical skill and artistic sensibility asd caught the spirit of the song aptly. He sang Faure’s “After A Dream” with realisation of its possibilities but Xieeded more controlled relaxation of voice. Six Songs of England by Eric Thiman were sung with practised ease. A toning down of the heavier levels of expression in such a resonant hall could well improve tonal quality at times and give a better chance for all the words to be heard clearly. Strong rhythmic movement was maintained. Christopher Doig sang “Sleep” by Peter Warlock and “To Daisies” by Roger Quilter with splendidly clear and wellcompacted line of vowels and artistic nuances. “A Goodly Heritage” by Gordon Jacobs—a set of songs of the English countryside—produced the best singing and the most interesting music of the evening. Very attractive harmonies were sung with very good balance —and the sensitive setting of the words was illustrated clearly by the natural accentuation and subtle phrasing in the singing. The dramatic force of the writing came through in this meritorious performance. Neil Sutherland was 4 most helpful and understanding accompanist. His touch was always clear, giving vitality to the music at all levels of expression. —C.F.B.