MADAME GODDARD’S CONCERT.

Evening Star, Issue 3666, 21 November 1874, Page 2

MADAME GODDARD’S CONCERT.

Madame Arabella Goddard’s first concert was given last evening at the Queen’s Theatre, which, capacious as it is, was not large enough to contain the numbers who wished to be present. The notices we have inserted in this journal concerning her success in the different Colonies she has visited and her high European reputation prepared us in Dunedin to expect much, and we cannot express our satisfaction in stronger terms than by saying the highest expectations of the most cultivated musicians among us were exceeded in her rendering of the various pieces played by her. Madame Goddard paid musical connoisseurs the compliment of piesenting, as her opening piece, Beethoven’s sonata in A flat, well known as introducing his celebrated funeral march. This most artistic composition, so varied in the style ot its movements, not only tests the power p. expression of a pianist, but abounds in subtle harmonies demanding faultless execution to render them tolerable. The lovely theme is played with by the com poser as only genius of the highest order could deal with it. We should have to transpose the poet’s line to describe it, and instead of saying from “grave to gay, from lively to serene, ’ it travels from “serene” to “lively,” thence to “grave,” and back again to “gay.” To be effective, the performer must be identified for the moment with the changing mood of the movements ; must be nervously impressed with its sober beauty, catch its rollicking whimsicality, and the next moment feel the majestic solemnity of the Adagio. This nervous im possibility, which we are accustomed to call feeling,” Madame Goddard possesses iu perfection. It pervades her style, her touch, and is at the same time so completely under control as to enable he r to give precisely the expression she conceives a musical phra:e demands. Theoretically, of all instruments the piano would appear to be least influenced in tone by the soul of the player. Practically, on no instrument has it more effect. A movement, which, played by one, would sound insipid, thrills , with beauty when interpreted by another. To describe peculiarities of this class is difficult; they may be felt, but not told. Madame Goddard’s touch and execution are exquisite ; in the loudest tone the thud of the hammer on the strings is never heard; even in staccato passages so exactly is each note of a chord struck that it rings with music, while the legates roll in sweet and silvery continuity, each interval clear and distinct from the other, no matter how rapid the passages or complicated the composition. The sonata was listened to with breathless attention, but life among giants would be very tiresome, it is too much of a strain to be always look--IDB up, and much as we enjoyed Beethoven’s composition, we equally enjoyed Tualberg’s fantasia on airs from Don Giovanni—in which the complicated harmonies were played with “ asterl y skill as would have led a bund listener to imagine two or three firstclass performers were uniting their efforts on the instrument —and the waltz which she gave as an encore. The Scotch fantasia and that exquisite ballad “Auld Robin Gray,” with which Madame Goddard obliged her audience as an encore, went home to many a heart present. At one moment those restless Scotch feet that are so difficult to keep still, seemed inclined to beat a very barbarous accompaniment to their national airs. We can sympathise with their enthusiasm, but nob with its manifestation, which remind one of the musical school of the North American Indians more than of the charmingly plaintive Scotch school. The inclination was restrained, with great advantage to the feelings of those who listened to a rendering of Scotland’s minstrelsy by a master spirit. We have been led to write at so great length on Madame Goddard as a pianist that we can barely do justice to those by whom she is assisted, yet they well deserve commendation. We have had many more visits of able violinists than of any other class of instrumentalists, and through Mr Pleuryjhave become familiar with high class instrumentation, It is therefore saying much for Herr Doehler that the brilliancy of his playing was so universally acknowledged. No matter whether it was Vieuxtemp’s fantasia from “I Lombardi,” “Yankee Doodle,” Rode’s celebrated “Air Varid,” or the “Carnival of Venice,” each of which was played last night either as part of the programme, or in return to a recall, Herr Doehler proved himself a master of the instrument. His bowing is free and unconstrained, his tone pure and brilliant, his staccato passages are played with an ease that only a violinist can appreciate, while the truth of his intonation is proved by his facility in dealing with harmonics and double stops.

Three vocalists who accompany Madame Goddard are—Mrs Smythe, soprano ; Mr Skinner, tenor; and our old friend Mr Rainford, basso. Mrs Smythe has a clear voice, of great compass. She is an old acquaint*

ance with those who have come hither fr. m Victoria, most of whom have listened to her some twelve years ago with pleasure. A tno, “Sigh no more, ladies,” was beautifudy sung. Mrs Smythe was encored more than once, and, in answer to one recall, -she gave the well-known and ever welcome Irish melody, Robin Adair,” which she sang with great taste and feeling. Mr Skinner has a good voice, but wc should imagine he has not had so severe a professional training astogive him full confidence. He was however, well received, and promises to become a favorite On Mr Rainford’s appearance he was greeted with such applause as must have convinced him how welcome he is to Dnnedin. We never heard him in better voice, nor did we ever hear him sing better. We did not think it needful to count the bouquets which were so abundantly showered upon Mesdames Goldard and Smythe, Herr Doehler and Mr Rainford. Mr Skinner received his share, and when better acquainted will have more. The conductor, Mr Harcourt Lee, like many other very useful people who do their work without parade and effectively, hoping for no mark of public iavor, did his duty well, and the hearty applause that shook the theatre at the close of almost every effort must have been equally gratifying to him as to the more prominent artists, as it showed that the arrangements made had rendered Madame Goddard’s first concert in Dunedin a marked success.