MUSIC.

Dominion, Volume 4, Issue 1166, 17 June 1911, Page 9

MUSIC.

(Bv Thedls Clef.) The Sheffield Choir. With over ICOO seascn tickets sold, and a big rush for the tingle concert planer wnat was left of it—tlic financial success of the Sheffield Choir's concerts in Wellington is assured. What can be said that has not already been said ol tins great organisation? Xlieir progress through America was one of triuinpn—it ' was tlic greatest human band that had over played tlic-rr, and America is now setting out to catch up to tiie wonderfully High standard which has been set by these Vorkshire singers. England has, on manv occasions, been taunted as a country lacking thes? qualities which make, ior music, that she produced fewer great composers or conductors than any other Western nation, but England has this to retort—that no other nation can begin to compare with her choral singing. Germany, land of the Licclcrlafel, Licderkranz, cud othor Liedcr, admitted that.the Skomold Choir was something exquisite and apart. And what of tho SOtli) voices that sing tho "Messiah" or "Elijah" every year at the Crystal Palace? The world can produce nothing like it—it entrances with its grandeur, and when tiinse 3800, with eyes centred on Frederick Cowen, sing the "Hallelujah Chorus" the very soul in one l lirs with the glorious vibration of it all. Emotional women have been known to faint; tears have been s-:cn rolling down the checks of men; and others have had to cling to those near them under the stress of tho emotional agitation crcctf-l by the human voice in mass. True, the Sheffield Choir is only 205 voices strong, but they are picked voices, capable of producing as much tone body as MO or GfiO ordinary voices. This is why I agree with the argument that it has been unwise to think of supplementing tho choir with local voices for "Elijah." Here are these people who have sung "Elijah" for ten years past under Dr. Coward, trained to the finest hair as to time and expression, who sinj the entire work without the score being thrown into company with a crowd, of amateur singers—doubtless very earnest in their work—who, perhaps, have never before sung in "Elijah," and, even if they have, will not be able to dispense with the score. There will be no time even for one choral rehearsal (tho choir is being rushed round like a circus), so that there are grave risks in the amalgamation. For all the value that the extra voices might be in point of power will. I feci sure, be nullified by a blurring of that perfect precision in attack. If this js not so T will rejoice, hut at present thest doubts will not bo stifled.-

Tho Municipal Orchestra. It was gladdening fa notice the large increase in .thy attendance at the. Municipal Orchestra's concert oh Tuesday last. >Ir. Barncit appeared to allow Lis band more . freedom than was tin cose a few weeks ago, and the result has meant a recovery of tone. The baud has put on flesh, so to sprak, and has lost Unit expression of pain which accompanied its attenuation. "Finlandia" (Sibelius) was played v.ilh dash, and Mistainrd energy throughout, and there was a.fine oneness in the crashing finale which betokened sympathy. I fancied that the tympaui might havo been played less loudly after the solo, .is they at limes threatened to obscure tho pretty little melody of tho first strings. The solo clarinet was somewhat hard in tone, and made heavy weather ct it on occasion?. The woodwinds are far from perfect yc(, but are improving steadily. One thing that should be put a stop to at these concerts ;S the lad who pcadios chocolates and jujubes whenever he gets a chance. Chocolates aio a discord whilst the last cords of a Beethoven concerto vibrate in the air—it is like a comic ccon song sung b;l wcon the acts of "Hamlet"—it won't do! How "Lohengrin" was Written. At the grand Coronation Concert to be given in the Town Halt on Thiu-sday c-veniitg next, the Municipal Orchestra, under Mi'- Maughan Bnrnett, will play the Prelude to Act 111 of Wagner's opera "Lohengrin." It will interest net a lew, perhaps, to learn how this no'.-famous opera was written. "Lohengrin" was commenced in 1815, when .the author and composer was thirtytwo years old. It was not completed, however, until 1817. and a first performance- was not reached until ISSO, when Wagner's munificent- friend, Fran;; Lisat, secured a performance at the Court Theatre, in Weimar. Owing to Wagners exile, he did not hear the opera until HOl. Time and again he took out the I

score and despaired of over hearing "the notes sound from oil tho dealli pale pjper." His publisher Me c er, refused to bring nut Ihe work in print, owing to the failure of two previous works of Wagner which he had issued. Finally, after several years, the publication lights were secured by a more enterprising firm, which was richly rewarded by the sub-!-quent success of the opera.

Wagner was said to have secured the nlct for "Lohengrin" while in Paris. He had, however, already become familiar with the legend of "I'ai-.j.'al" (Parzova!) through Ihe pcem of the Minnesinger !>"ot, Wolfram von Parsifal, a knight of the JToiv Grail, (hat sacred order of mystic knirhls who, lha lerend tells ii=-, took upon themselves Mr* dufv of "Harding the last oim from which Christ, r'vj.nli. was (he father of Lohengrin. The ehnraelor of "Lohengrin" as an opera i= distinctly lvric when compared with Wagner's other works. Tho music is one reulinuous SM-ea'n o? .entrancing melodv, in which the motives typifying ehar.iefor

find mood gi'-e the composer an endless ounartimily for portraying human emotions.