"THE PIED PIPER"
FINE AUSTRALIAN WORK DISCLOSED. Credit is due to tho Wellington Hnirmonic Society for introducing, to Wellington that very able work by Mr. Ernest Truman (City Organist of Sydney), '"The Pied Piper," which is described as a "cantata grotesque." It is richly descriptive, and certainly conveys in the spirit of the.music, which is symbolic rather, than deliberately melodious, the' essence of Robert Browning's famous poem; "The Pied Piper of Hamelin." The cantata isuilmost wholly, choral, the music,rises to impressive heights of contrapuntal grace, in several places, and always reflects the poetic idea clearly and boldly. Onemeansof doing this is by : the Wagnerian method of theiuos, which j is'cleverly followed up; so we have the Piper's theme—a thin, weird strain jumpins dowrt the scale, always followed by little rushes of semi-quavor chords, which bear a happy relation to the effect of the Piper's tune. These themes are each given out clearly in the overture, and so are well assimilated in the mind of the audience before the vocal performance -begins. The overture gained in meaning from the beautiful interpretation'given >t by Mr. Harold Whittle on the pianoforte. His work only whets the appetite'for the full orchestration, a treat that should not be denied us for very long. As stated, the music does not aim at beiii!; catcliily melodious, but_ taken 'as a whole each chorus or.solo is'part of a very striking musical picture, ingeniously conceived, and achieved with telling artistry. The opening chorus, "Hamelin Town's in Brunswick, gently explanatory, shows the composer's gift for choral lace work and harmony. It leads into the startling "Eats" chorus, vigorously descriptive of how the swarm of vermin "fought the dogs and killed the cats, and bit the babies in their 'cradles." The first solo work is that given to'the Mayor,'who; after being scolded- by the ratepayers over the plaguo of rats, is interrupted'in hie futile mumbling by the appearance of tho Piper, and the music pipes in "tho strangest figure, his queer long coat was half of yellow and half of red,' who with confidence tells them in a tuneful i solo how he is able to banish the rats.' The 'bargain is struck. Hβ is to receive a thousand guilders, and commencing his lay—which trickles bewitchingly through the. accompaniment to the running chorus—soon "you heard as if an army muttered;" and . a sprightly chorus tells how the rats came tumbling out— y "Brown rats, black rats, grey rats, tawnj rats, • ■'■■- Grave.old plodders, gay young friskers, Fathers, mothers, iiuclcs,' cousins, ■ Cockiiig tails and'pricking whiskers." This chorus is delightfully planned in a humorous vein, and was heartily applauded! The only bass solo in the cantata is allotted to 1 the solitary rat whioh managed to swim the Weser. and carry .the story home. Then' comes a joyous chorus descri'ptivo of the ecstatic glee of the .people on being relieved of the plague, followed by the refusal of the Mayor and council to pay the piper (characteristically German!), and the revenge of thecharmer, who lures all the children of tho town'to their death with the magic of his pipe. Iu this extremely, beautiful and picturesque chorus there is a lovely counter melody in the accompaniment, which catches the attention as ah added grace to a striking number. The best solo follows. It is that given to the Lame Boy, who was tco slow to keep up with the Piper, and so is saved. Finally tho. moral of the poem is givenout "maestoso", in a telling grand chorale which makes an uplifting conclusion to a most' interesting work. The work of the society's small yet able chorus was fairly good. The ladies of both departments- answered all demands, but the male divisions were both weak, and in the double chorus (for men), "An Hour They Sat in the Council," tho first tenor •part was inaudible. Generally tho males appeared., to be a little afraid of their work when left to themselves. In ensemble work the defect was not so apparent. The soloists were Mr. A r . E. Bennett (the Piper), Mr. William SWen (the Mayor), Mr. H. T. Barnes (the Eat), , and Miss Maie Ross (the Lame Boy). Of these Mies Ross acquitted.herself well, and was encored for her one solo. With soloists'better - equipped -for such work "The Pied Piper" would create more vivid interest than was possible on Saturday evening. Mr. Temple 'White conducted, and Mr. Harold Whittle was a host in himself at the piano.
In tho first part of the programme the society submitted Liza Lehniann's song cycle, "Daisy Chain," which embodies twelve charming twigs of childhood The soloists were:—Mrs. Percival Morgan (soprano). Miss Ida Rnelling , (mezzo), Mr. George. M. H. Howe (tenor), and air. I*V S. Pope (baritone). Of these singers, Misa Snelling displayed the greatest vocal charm, and was recalled for -lier solos, "Fairies" and "The Ship Sa'ilrd Into the Sun." ' Mvs. Morgan's confidence nnd voriil fluency were counteracted by a fatal hardness in the upper register. Mr. Howe's very light tenor was used effectively within- a limited range, and Mr. Pope sang with intelligence, but was tonally unsteady, His "Mustard and Cress" ijolo pleased the audience'. Miss K. Henderson played the accompaniments. The society also sang Pinsuti's lovely chorus, "Tho Sea Hath Its Pearls."
In the house cricket match between The Dominion and tho "Post," played at the Kelburn Park on Saturday afternoon, the "Post" team won, by 219 runs to JO.
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Dominion, Volume 12, Issue 116, 10 February 1919, Page 6
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1,092"THE PIED PIPER" Dominion, Volume 12, Issue 116, 10 February 1919, Page 6
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