Telling Effect Of Harmonic Choir

Press, Volume CVI, Issue 31111, 14 July 1966, Page 16

Telling Effect Of Harmonic Choir

The Christchurch Harmonic Society, conducted by Mr William Hawkey, began its programme in the Civic Theatre last evening with Vaughan Williams’s sensitive and poetic setting of “The Serenade to Music.” The soloists were Elizabeth Hellawell, Mary Adams, Anson Austin, and Winston Sharp and the accompaniment was played by the Christchurch Civic Orchestra.

The composer has given to this work a charming and glowing /lyricism which was for the most part, aptly realised by soloists, choir, and orchestra.

The blending of voices in the choir was accomplished with fine skill, and the tone in all parts was maintained on a strong foundation, giving welcome clarity. The members followed Mr Hawkey’s careful directions in all matters of expression and dynamics, making distinctions in tone between soft and very soft singing.

The soloists —an expert panel—made colourful and dramatic contrasts and the orchestra created telling atmosphere as well as giving support. Finesse In Songs Mr Anson Austin, the Prague String Quartet of the University of Canterbury and Mr Maurice Till gave an outstanding performance of “On Wenlock Edge”—the like of which may not be heard again here for a long time. Mr Austin is about to leave us to take a position with the 8.8. C. Singers. In this performance he leaves with us a fragrant remembrance of his sincere and accomplished artistry as a singer whose work has always been of unfailing reliability. It was his good fortune that, for his last concert here, he should have had five such outstanding artists associated with him. It would be difficult to imagine the accompaniment being played with a higher degree of polished finesse. Had this been their fiftieth performance of the work there could scarcely have been more meticulous attention to detail nor more vital appreciation of spirit and meaning. Mr Austin’s excellent

clarity of line, careful attention to correct accentuation, his appealing changes of timbre, and his unfailing search for the meaning underlying the score made this performance one to be grateful for and to be remembered. Testing Ovatorio The same soloists heard in “Serenade to Music” joined the choir and orchestra in a performance of Michael Tippett’s oratorio “A Child of Our Time” in the second half of the programme. This work—very testing for all performers —was most creditably brought to vivid realisation. Apart from the physical difficulties of an exacting score, the work calls for a well-developed sense of dramatic atmosphere. In spirit as well as in technique, all concerned in the production gave impressive and well-knit readings. The work began in atmosphere of harsh and unyielding elements tearing the soul with stark loneliness, rejection, persecution and grinding hopelessness. The orchestral part suggested a gritty squalor and the singers’ tone brought out the merciless chill and the grey pallor of a diseased and dying civilisation. In part two a young man rebels and assassinates an oppressor but his act brings about terrible retribution. Part three speaks of renewal of courage and hope, as spring brings its continual promise of resurrection. The use of Negro spirituals by way of commentary on the various dramatic aspects of the story is markedly effective. —C.F.B.