A GREAT CHOIR.

Dominion, Volume 4, Issue 1167, 30 June 1911, Page 6

A GREAT CHOIR.

MAGNIFICENT PERFORMANCE. WELCOME TO THE SHEFFIELD SINGERS, "THE DKEAM OF GERONTIUS." Par-famed as the finest, exponents of choral music, the Sheffield Choir, which appeared before a brilliant audience, which filled every seat in tho Town Hall last evening, not only realised all expectations, but soared far above- them. The choir is said to come as the ambassadors of melodic reciprocity, and, farfetclifid as tho phrase may eeom, this great symphonic orgau (which Div Charles Harris* introduces),. composed of tho elect cf a numi.rically stronger body in Sheffield, creates an' impression of amazement'at tlio high degree of perfection (hey attain in massed vocalism, which must fire our own choral societies with a spirit of emulation, and assist in bringing about a degreo of that reciprocity which should exist among uiusiclovers the world over.

The audience, toned up to the occasion, gave out tho first noto of enthusiasm at the entrance of Dr. Henry Coward, the founder and conductor of the choir. The Acting-Mayor, Mr. John Smith, came forward, and in a few. words welcomed the choir on behalf of the city, to which Dr. Coward replied. On the arrival of his Excellency the Governor, Lady Islington, and party, the choir sang, the Notional--Anthem right through—a , ' now and. most effective arrangement—and after a brief pause, tho wood-winds and violas sighed out tho first wailing notes of tho orchestral prelude to Elgar's vivid work, "The Dream of Gerontius." It is not altogether new to Welliugton, harm;,' boon performed here last Novomber by tho Wellington Choral Society, but excellent as that performance was within limits, last evening's interpretation was a startling revelation. Virile and watchful over, the chorus, in ■ tho hands of , ' Dr. Coward, became an instrument capable not only in tho production of a pure resonant tone, with a perfect swell' from a mero sigh to clarion-liko bursts of exultant harmony, but of interpreting to the finest shade of meaning the dramatic spirit of Cardinal Newman's poem. From the deep reverence that marked the singing of the

"Kyrie Eleison" to the taunting, snuffling, snarling choms of'demons without the House of Judgment, 'was something remarkable ■in contrasts. Between tho exalted strains of tho choir celestial and the horrible jangle of tho for ever damned, lay the wholo gamut of the emotions, and never once did the choir fail to respond to the quickening influence of the talented conductor. The marked tonal resonance of the choir was heard with felling effect in the chant, "Rescue Him, 0 Lord," and its power of declamation was splendid in the chorale, "Go, in the Name of-the Holy :Spirit," sung with the priest's solo, "Proficiscere Anima Christiana"—the impressive finale to ■ the first P 'tlio historic capacity of the choir found its fullest vent ia the graphic "Demons Chorus," an amazingly vivid bit of choral writing, into which the chorus infused an astonishing variety of what might be termed character eficcts. The words "What a Saint!" actually stabbed with the irony of expression, and the raucous "Ha! Ua's!"were about as nasty a taunt as any soul could reasonably stand. Then a marvellous effect is gained at tho end of the chorus, whore the'grim inhabitants of utter darkness are heard muttering eheir tauntsion n gradually diminishing scale. Only the strains of the orchestra prevented mi ovation ftt this point, and richly did nil concerned doservc it. I.ho chorus is singularly well' balanced,, and, be it noted, that here ,'at last is a. choir with a tenor division up to the mark. Dr. Coward is fortunate in his orchestra. On its performance last evening it is the finest band heard in ■Wellington since the Exhibition Orchestra of 190 G. With an altogether admirable instrumental-, balance, they played Elgar's difficult music n-ith a fluency and sympathy that charmed and, at times, thrilled.,.,.ao; f heir-the• orchestra nloue is a great privilege. _ To complete the ensemble, the soloists were thoroughly satisfying in their work. It was, perhaps, unfortunate that .mips Gertrude Lonsdale, the contralto, could not appear, owing to indisposition. I hat artist has been heard before in New Zealand, and many pleasnrably anticipated her sinking in the imnortant role ot the An»ol. which offers a fine opportunity for trood work. Her substitute was Miss Alice Heeley the possessor of a full-bodied coutralto, which Uinnsh used discreetly wns hardlv as magnetically sympathetic as could'bo desired. The music of Gerontius was allotted to Mr. Henry Turnrienny, who is rcolly a verv fine nrtist. ■ He lifts a singularly pure lyrical tenor voice of, even qualHv, with an attractive silver resonance in tho upper register. It is a moat difficult and high-pitched role to sin", but Mr. Turnpenny proved emial to every demand. Ho sans tho solo, 'Sanctus Fortis," in a fine snirit of reverence, nnd all through the trying-music of the first part suggested with artistic discrimination the agonv of doubt the dying Gerontius feels. He was also excellent in his interpretation of tho solo, I Went to Sleep," and again in his final solo, lake- ' Tho ba'r'itone music, that of the Priest, in the first part aud the Augel.in Agony in the second, found a capable exponent in Mr. Robert Charlesworth, a vocalist who made an immediate impression. Ho has a rich, full-toned, heavy baritone voice of musical quality, which he uses with ease and refinement. He was heard with pleasure in the "Proficiscere" number; and later in the striking declamatory solo, "Jesu, by that Shuddering Dread."

Dr. Coward has been heralded as a genius with the baton. He is one. He handles chorus and orchestra "with the skill and magnetism of a master and an enthusiast. To ■ the audience-he is the reverse of ostentatious in his methods, but his face aud his fingers are an'open book that all may read. When he wants a note sustained ho twiddles the fingers of his left _ hand as ho beats with his right. To indicate a lead he points one finger at the spot' where that lead -should come from; in diminishing sound he beats the air downwards, and when he wishes the choir to swell, ho swoops both hands upward and outwards and bends his body as if ho were drawing out the sound by a physical effort', ami out it comes. Half the time ho is singing himself. It takes very special qualities to make up (ho perfect conductor—Dr. Coward has them all.

TO-NIGHT'S CONCERT. At this evening's concert the programme wil consist o£ Dr. Harriss's symphonic idyll "Pan." Mr. C. Hubert H. Parrv's chorale "Blest Pair of Syrens," Bach's great motet, for double chorus, "Sing Yo to the Lord." • and part songs. The choir leaves this morning for Palmerston North to give a midday matinee, returning bv special tram in ample time for this evenings performance.