SUNDAY CONCERT.

Dominion, Volume 4, Issue 1098, 10 April 1911, Page 6

SUNDAY CONCERT.

* WELLINGTON PROFESSIONAL ORCHESTRA.

There was not the same rush for seats at the sacred concert in tho Town Hall last evening as there has been on other occasions, but nevertheless all the seating accommodation, including the chorus quarter, was filled. The concert was very enjoyable, but not as successful as some that have, preceded it. Two Wagncrian selections were contributed by tno orchestra—the introduction to Act 111 of "Lohengrin" and the overture to "Kienzi," Wagner's third opera. Tho latter was the more pretentious of tho two. The libretto of this opera (which was founded on Bulwer Lytton's novel) was written by the composer himself. Tho opera is of a thoroughly martial character, but the music, as was obvious last, night, has very little in common with that of Wagncr'.s Jater operas, for it was designed before tho operatic reforms with which , his name has been associated.

"Rienzi" was written with tho object of rivalling the French "grand opera' , stylo as exhibited in the works of Meyerbeer. The overture opens with a sustained trumpet note, which heralds the opening theme—played by the violoncellos—known as "The Invocation to Battle." This is a, fine and pompous battle hymn. The strings are gradually joined by the wood and brass, and the whole instrumental force thunders out tiic melody until it is suddenly interrupted by a long roll of the drums, representing the call to arms. It was in the earlier part of the overture that the orchestra was heard at its best. Towards the end of this section the task becamo rather severe, and raggedness and some genoral weakness were noticeable. The rich harmonics in the second section were bettor sustained, and tlie invocation theme which recurs at intervals at varying tempi had good uplifting treatment. As a .'•ample of tine martial music, the listener cannot fail to bo impressed with the massive grandeur of the whole composition, and the repetition of the overture should be welcome. The "Lohengrin" selection was scarcely so successful, Somehow it did not seem Wagner. It lacked the suggestiveness. The paeans of triumphant ecstasy that runs in unison through the entr'acte were also. too stringent, and not sufficiently round and intense. The serener joy of the second theme might have been more marked. There was an effective exhilaratory brilliance, however, about the contribution that made it one of tho most acceptable of the evening. In the "Salb.rollo" selection (Gounod) the orchestra was more at home, and quite revelled in Hie lively music, catching nicely the spirit of the piece. The violins particularly, a strong feature of (ho orchestra, did excellent work. The "Yeomanry Patrol," a very popular descriptive composition by Squire, the well-known English 'cellist and song-writer, brought the concert to a close. Tho two contributors outside the orchestra were Mr. Henry Mosehini, who played a fine clarinet solo, "Concertino" (Weber), and was deservedly encored, and Jtr. Stan N. Hiitton, baritone, who sane "Nearer My God in Thee" (Carey) and "Across the Bay" (Gloeson). Both performers were to'a more or less extent handicapped by discovering that the piano in usn was half si tone down. Mr. Moschini had to change his clarinet. The accompanists were Mr. Dave Kenny and Mrs. Gardner.