MUNICIPAL ORCHESTRA.

Dominion, Volume 5, Issue 1381, 6 March 1912, Page 5

MUNICIPAL ORCHESTRA.

A F I.N 13 CO.NCEKT. After (he concert given in tho Town ILill last evening—the first of the 11)1:! sea-oii— it is not too much to tay that Wellington should In, proud of its Municipal Orchestra. Tho band appeared to bo toned up to a bigli pitch of endeavour, and throughout an exacting programme, played with rare unanimity, verve, and in far better tune than, perhaps, ever before. Considering under what difficulties the orchestra labours, both as regards the limitation of availablo players and tlio lack of tonal relation in th'o instruments, last «veniiig- s performance was moro than merely creditable—it was a monument to the industry and enthusiasm ot those concerned and their conductor, Mr. J. Maujhau liarnett. Tho programme was an exceeding}* tine one, embodying worKs of a widely varied charneter, yet none of the items "failed in their appeal, as was demonstrated by the applause- which was liberally meted out by a fairly large audience. It opened with hlfjars popular "Pomp and Circumstance-" march, a number that all concert-lovers are familiar with. It was played with a spirit begotten of confidence, 'the slow movement being particularly well plaved A delightful surpiisc awaited the audience in Jarnefeldt's Prelude, a melodious number instinct with delicate rharm, winch, though over forty yours old was new to theμ-rcat number"of those iirasent It has a dainty pizzicato opening, which merges into an ncjcom mini went to a beautiful cadence playe.! by tho oboe which l* caught up by the flute, and developed graceful}- "by the strings into a perfect bit of lace-wurk of bewitching harmony, Imninatiiig in n sustained note given out by tho muied horn, the (heme is then repeated, and the Prelude ends as it begins-delieatelv pizzicato. Ihe orchestra breathed into the work quite a poetical atmosphere, the work of the oboe, strings, and even Iho l'rench honi meeting every demand Needless lo say, tho number was re(icmanded. It should be included iu the programme for the next concert \ot since the days of (he Exhibiiiou Orchestra have ijiosl music-lovers heard Schubert = lowly "Symphony in B Minor " Last eveniUß the orchestra played the lirst movement, and hero again tho orchestra manifested the big leap forward it has made since la»t season. It is very doubtful if there is a more beautiful o'r soulful movement in the whole raneo of the feu symphonies written by Schubert, and in hum does iiis nenius in'ake a more emotional appeal. While tho miijesticnl Muluess which spiritualises the work might servo as a lament for a kin?, it probably merely reflects (ho feelings of the composer, none of whose symplionics were, accounted successes during his life. June has set upon them the seal of genius. The many charms of this movement include an entrancingly beautiful cello solo, and tho "abrupt cadence," which precedes a succession of mighty chords. To hear such a work by a pro-perly-constituted symphony orchestra must Rivo one n taste of tho higher joys; to hear it last evening was a rare treat. Richard Strauss made his debut in public in the form of a Processional March arranged by Max Roger for organ, brass, and drums. Truth to tell, the work was tediously pretentious, without tonal colour, and somewhat bjatant. Perhaps it was set too near the Schubert miinber for one to tnlio in its meaning, but it is certainly not: a work of distinction. The brass wero only concerned in fhc last ten or twelve bars, when even their (in tinabiilalion was lost in the thunder and liimult of the pedal orran <<iul "sp"akers" in full blast on a tuneless finale. Tu compensation came two Utilitarian dances by Brahms , , played with a nrecisionnl swing that set up a riot in the blood, and a nrctfy but (rilling "Harenrila" by Offenbach. The old never-diV ''Kami);'." overture, wilh its scum-in;.' par-tickling melodies, sent the audience hnuio (mile pleased v.'itli themselves and their evening" 'villi Hi' , Municipal Orehe«lra. Mr. John Proline was Hie soloist-of Iho evening. His vibrant pnmtionn! bnrilnne found pxiirossk'ii in Tschaikowsky's fine "I'ilfM'ini's Song." slij'hlly marred by an over-loud on-lipslrnl accompaniment which ■mothered Hie words and diwn?d (he lower note-. Much rehearsal is needed where the voice is villi a band; "llu'i'wisp. Ihe voice lins a bad I imp. Mr. I'miwV singing of "Viltnrin Mio Core" (Carrissinii) was quite dfliphlful. and hi« Plipnrp. iiiiiu'-pr. an aria from Hαlevy's oriPi'n, "I,a .liiivp." was really a very fine pffnrl. Mr. Tlorncp- Hunt awnrnpniiictl. Till- til't'h''»lTll tn Itlvp nnr.llil'l' Wliri>|'|nn 'J'tiofiln.v next, ivliau £''«• 'fyvtA JJftll .ftlioald ha ACQTfdad,