HARMONIC SOCIETY

Dominion, Volume 20, Issue 55, 29 November 1926, Page 16

HARMONIC SOCIETY

SOME EXCELLENT PAET SINGING. If. at all adequately performed part singing is perhaps the most pleasant form of vocal music, and Wellington is indebted to the Wellington Harmonic Society for the even standard of merit shown in their concerts year by year. • The concert given at the Concert Chamber on Saturday evening was one of the most enjoyable for a long time past, 1 and all the more creditable, as no outside talent was employed to reinforce /the programme. The part songs selected were a sheer delight. Indeed, there was such an abundance of riches that in reviewing the programme there were at least half-a-dozen items that one would like to hear over and over again. Granville Bantock has written some charming music, and he strikes a right merry note in his madrigal, "Jack and Joan," whilst in the same spirit "In the Merry Spring” (Ravenscroft) was a real discovery that dates back to 1613. In this ,part eong, melody, fresh and exuberant, is happily wedded to the humour of the lady who repented too late the rejection of a lover’s advances. This number was delightfully sung, and had to be repeated. “Early Morn” (Rutland Boughton) is beautiful thought in music, a thing of gossamer delicacy, which requires very tender handling. It was so pleasingly treated that nothing would suffice other than a repetition of the whole. The same composer was responsible for a new and glorious "Spring" part song, written in madrigal stylo, with a merry abundance of “La la’s” to lend the old English atmosphere. The brilliant spontaneity and awakening spirit of the music is a splendid rouse, and the final chord—a shout of joyous triumph—is a master note. This number had to bo re-

peated. Another gem was Elgar’s "Evening Scene,” a part song, in which the skilful placing of the voices (in the likeness of a fugue at the opening), made a harmonious whole that was at-

mospherically charming. Sir Edward Elgar is England’s greatest musician, but nothing in his music excels his part songs. Other part songs, all good, wore "Diaphenia" (C. V. Standford), "The Golden Time" (Rootham), ‘‘Ay, Waukin O” (arranged by H. S. Roberton), “The Banks of Doon" (Roberton’s arrangement of “Ye Banks and Braes"), and, finally, the fine chorus, "Blossoms, Born of Teeming Springtime” (Dvorak). •Among the soloists Mr. E. W. Robbins exhibited a very nice tenor voice that is particularly good on top. He was in "Sea Gipsy” (Michael Head) inclined to sing under tone (not under pitch) at intervals, but has a ringing top note that suggests that he could cure tne pallidity of his piano tone. For an encore he sang "Because," and here again the audience did not get his real tone until the climax of the song. Mrs. A. E. Burge is a delightful singer, clear, steady and with a sweetly sympathetic tone, hut she made a mistake in selecting Beethoven’s “Adelaide,” as her contribution. This is essentially a song for tenor or high baritone, as its whole character breathes a poetic passion for the much-desired "Adelaide,” and, consequently,- loses much of its significance when sung by a lady. Mrs. Burge was recalled, and sang "The Woodbecker” vory nicely. Ono of the most delightful numbers was the old duet, “I Arise From Dreams of Thee" (Yates), ' v h_ lc ' l was charmingly sung by Mr. and Mrs. R R. Orr, who on being recalled sang the arch, "Just As We Used to Be. The Harmonic male quartet, consisting of Messrs. V. R. Bennett, E. W. Robbins, A. Stark, and B. O. Stoke, sang 'in a most subdued manner that exquisite number, "Lovely Night” (Chwatal), and then marred the atmosphere _ by einging that ancient and fish-like joke number, "Fishing." .The Mother-in-law" number was quite in order. Ino choir was directed by Mr. ti. Temple White, whilst honours were due to Mr. Harold Whittle for his sound ■work at the pianoforte.