MALE CHOIR CONCERT

Evening Star, Issue 19662, 15 September 1927, Page 3

MALE CHOIR CONCERT

UP 10 EXPECTATIONS In the results of the concert at His Majesty’s Theatre last niglit the Dunedin Male Cboir 'got what it wanted and expected—a ‘‘capacity house” ol an attentive and appreciative character, and the subscribers and such oi the unattached public ns could squeeze in got a concert which generally came up to high-water mark and in some important respects lapped over. Ur Galway was faced by seventy-one singers, none of them indolent nor unready, and the first tenors' efficiency qnalito, them to rank as the Guards rank in the Army, whilst it may also be set down as a fart that the second tenor part was never better sung, seldom as well. In thus placing the doings on record no slight upon the basses is intended. They were good, but much oi the music chosen for the occasion scorned to specially suit the tenors. Credit must also bo bestowed upon the choir lor discipline as displayed in movement, their uprisings and downsittings being methodical and unfnssy, and, oi greater importance, in their close watch upon the stick. These things count. The slight additional slowing of the National Anthem suits the harmonisation for which Dr Galway is responsible, giving extra breadth, and the expression .was adequate without forcing or any suggestion of the linickincss which would be out of place in a prayer. The lengthening of the final diminuendo was a masterly effect.

The crescendo of the choral prelude ‘ Salutation ’ was evenly built up, culminating in a thunderous climax that tbo tenors topped off wonderfully, though the disjoining of the last note may he questioned. Tho score dictates a break, but Nelson’s blind eye once served his purpose. If Mr Arthur Harnett was present he surely must have felt rewarded for his presentation of the ‘ Steersman’s Chorus ’ —or. as it is now more properly called, the 1 Sailors' Chorus ’ — from ‘The Flying Dutchman.’ It was sung with great spirit and just the required jollity, and kept going all through, the tenors calling up reserve after reserve and the other voices doing all they could with music that is rather low for such of the basses as are really baritones.

Arthur Jlaynon's ‘ Come, Gentle Night,’ unaccompanied, was a bright gem, the singing pure and compact, the importajit second tenor part unusually nice. This item would have stood very well for a test at a competitions festival, the end pianissimo at any rate. * Recognition of Land,’ by Edward Grcig, gave pleasure in another way. ll is'of a. rollicking character, and the conductor seemed to loosen the reins and let the singers have their own way for a minute. This, of course, was part of the plan, indicating faith in the rehearsals. It brought about a fine sense of freedom in the treatment, and thus tlie unison came forth with cumulative power. The solo was appropriately given by Air F. H. Williams. The encore was imperative, and the repetition was almost as good. Quite as meritorious was ‘Tho Little Admiral.’ Some think this the best part song ‘of fho evening. It certainly represented the perfection of study. Tho spirited way tho voices gathered strength for emphasis was only one of many good points. The solo, 100, was of the best—quite electrical—Mr J. I). MTvcclmie going at it fearlessly like a true “son of a gnu ” and being in great voice. The ‘lmage of the Hose’ may have been a trifle too murmurous, and once more the audience noted how difficult it is to sing the solo quite in tune, but Air Leslie Dalioy got through this task with honors. K.renuser’s ‘ Hymn of Faith ’ appeared to require a little more study. The men were apparently over-auxions. Afiss Meda Paine, the soloist, went through her strenuous task most faithfully, not sparing her voice when strength was necessary in high-set passages to stiffen up tho choir. ‘Companions, Let's Drink,’ Irom ‘.Ernaui,’ was a triumphant success. The tenors hit it off in rare style and the bass was delightfully rich. Tho audience expressed its (hanks in duo course to all the soloists —Mr J. T. Anderson (tenor), Miss Nod O’Knno (violoncello), Afiss 'Meda Paine (soprano), Mr Palpii ALirtindalc (baritone), and Messrs A. Walrnslcy and John C. Clark (ducts). The outstanding contributions in this way were from Miss Paine, who had voice to spare for such a great song as Horsman’s ‘ Bird ol' tho Wilderness,’ and showed her artistry in ‘ The Cuckoo.’ Air Charles Martin's unfailing judgment and skill at the piano helped wonderfully towards the general success.