CHORAL SOCIETY’S CONCERT.

Evening Star, Issue 2870, 1 May 1872, Page 2

CHORAL SOCIETY’S CONCERT.

The fourth concert of the Dunedin Choral Society took place last evening at the Otago University Hall. It was well attended. The first part consisted of selections from Haydn’s Creation. We must congratulate the society on the marked progress made during the year. As a rule the choruses went with precision, altiioTjgh tho usual fault was observable in the overmastering of the treble and altos by the tenors and basses in the forte passages. Of the solos the most finished were “ With verdure Clad,” which was rendered with taste and execution not often surpassed. “ In native worth” was remitted to a gentleman whose physique and style are not suited to it, and another tenor solo to one who might sing agreeably if he sang more on the vowels and less on the consonants, and used his nose less in producing sound. At the commencement of the second part, his Honor Judge Chapman eame forward and said :—Ladies and Gentlemen, the Committee have requested me to say a few words respecting the past condition and prospects of this Society, I ajp afraid that I shall have to trouble you with a few figures, which are not always pleasant to hear ; but when the position of a society like this has to be explained, it is necessary to give them. I will endeavor to be as brief as possible. You are aware this is the fourth concert given by the Choral Society of Dunedin, aud that this completes its first year. The Society commenced with eighty performing members. During the course of the year fifteen of them have gone away or withdrawn, aud twentythree have been elected. Therefore the strength of the performing members is rather greater than at the beginning. Besides the performing members, there is another class called honorary members, who pay increased subscriptions At the commencement they mustered seventy, and are now eighty. The average attendance of performing members has been about sixty, which in a society of about eighty is as good as anywhere else. It is necessary I should explain to you how the funds of this Society are distributed. The Choral Society is not a society seeking profit. It is perfectly content if it can pay its own way and give satisfaction to the public. The contributions of (he honorary members about pay the ordi-

nary expenses of the Society, and the contributions of the performing members are devoted to acquiring a stock of the very best music, suited to the purposes of the Society. The object of the Society, as you are aware, has been nt merely to encourage the cultivation of the best music among those who take part on the platform, but to encourage a taste for it among the public generally ; and accordingly it has been the endeavor of the Committee and those performing members who have done such excellent service, to present through the Society music by the very best masters—what indeed is usually termed classical music. Music of that class has been chosen, and will be selected in future. It is also the object of the committee not to confine their choice te music usually termed classical (I do not know why), but to introduce the best opera music to instruct and delight those who usually attend in this Hall. I need hardly say the cultivation of a taste for works of the best masters—the cultivation of a taste for the best music is calculated, as the poet says, to soften manners, and prevent men becoming morally brutal. More than that—it is not necessary for a man to be a performer in order that his taste may be cultivated, and I think you will find that species of cultivation that stops short of actual performance, is likely to increase the taste and enjoyment of those who so cultivate it. and that it has a tendency to soften men’s manners. That tendency cannot operate in every instance. There are some few minds totally incapable of cultivation by any means whatever. But that is no objection to the endeavor put forth by this Society to operate upon the community and spread a taste for the highest discription of music. We are told that Nero fiddled while Borne was burning, but I hope you will agree with me that the cultivation of music will not make these young ladies desirous of burning their neighbor’s houses. Although Nero fiddled while Borne was on fire, a vast number of illustrious examples of persons capable of enjoying and performing music of the highest class might be given. I suppose there is hardly a person in this mom who has not heard of Sir William Herschell, father of Sir John Herschell—a man of great astronomical genius. He was the discoverer of the planet Uranus. He had a peculiar faculty for discovery. It is acknowledged that no astronomer ever existed so endowed by nature with physical capacity for observation as Dr Herschell. Besides he was a profound mathematician : so that he not only had capacity to observe, but of turning his observations to account. Not only did he see Uranus, but he calculated its course. Perhaps some of you will be surprised to learn that Sir William Herschell was originally an organist. In early life music was his means of obtaining a living, and astronomy his amusement, Afterwards astronomy was his business, and music his amusement. You have all heard the name of Jeremy Bentham, of whom it may be said no man has done more for jurisprudence and law reform than he. Sir Samuel Bomilly and Lord Brougham acknowledged him their instruetpr. His works on those subjects are comprised in some twenty or thirty volumes Jeremy Bentham was a skilful performer on the violin ; and if you turn to his memoirs, you will see it stated, while writing his works, he was, night after night, accompanying Miss Pratt, daughter of Lord Uamdeu, on his violin. Most people know that the Wellesley family, of whom the great “Iron Duke” was one, was distinguished for the cultivation of music. His father, Lord Mornington, was a composer of very considerable talent. I am not prepared to say that the Duke of Wellington was a performer, but the last time I saw him was at a concert in Exeter Hall, and I oonld not help observing his intense attention to everything that went on, and his enthusiastic applause when anything deserving it took place. I believe Prince Metternich, too, was skilful on some instrument, and I think I have seen it stated in some Herman work that he gave great encouragement to the art both publicly and privately. Many of you may have heard the overture to “ Semiramide,” in which there is a certain theme that runs throughout the opera. That theme was suggested by Metternich to Rossini when he was engaged in composing “ Semiramide.” He said, Why don’t you take that air known to us as “ Life let us cherish ”? It will make an admirable theme for the opera. He did so, and accordingly “Life let us cherish,” slightly altered, goes through the opera. I might enlarge, and tell of men distinguished in various pursuits in life who have nt disdained to cultivate music ; but my time is short, and I will therefore conclude by a brief statement of what I think is due to many persons. We are specially indebted to the labors of Messrs Towsey and West, and Mr Little, the leader. These gentlemen who lead have contributed very much to our delight. Those professional persons who have aided the progress of this Society have not received any remuneration—their services are entirely gratuitous. I think those whs have listened to music so well arranged and rendered in such excellent time—the honorary members of the Society will agree that their thanks are due to them and to those ladies and gentlemen who contribute their services. Let me again remind you that the Society depends entirely on public support. It seeks no profit, but it cannot be supported without funds Of those present there must be many who are not members. It is really an educational instition—it cultivates taste, and those who have not yet joined the Society cannot do better than become honorary members of it.

The most noticeable features of the second part were the opening chorus “England, 0 England!” “Bid me discourse," by Miss Marshall, who, on being encored, gave “ Tell me my heart ” equally sweetly and brilliantly; “ Norah, the pride of Kildare,” by Mies Sinclair, Mr Marsden’s “ The beacon that lights me home,” and the duct “ Hear me, Norma,” by the Misses Laird, The accompaniments were played by Mr Towsey on an excellent grand piano supplied by Mr C. Begg. The band was ably led by the leader, and Mr West conducted with his usual ability.