CONCERT.

Globe, Volume V, Issue 599, 20 May 1876, Page 3

CONCERT.

(J<rom the Press') At th« Oddfellows' Hall last evening tbe Barmonie Society gave their third concert of 5£ preeeefc seaßon. The audience was not icry lar?e, but the subscribers seemed to W o?two concerts have shown a reaction in the number of performers the chorus being much smaller ; indeedlgj socio*y would almost appear to be going the way of most musical associations in Chrisrchurch-for a time being entered into with great zest and vigor and gradually failing, simply for lack of interest among the members. It is hard to believe that it can be now because of any objection totne work iu hand, for Haydn's " Begems is throughout eo tanefal and agreeable that one could hardly fail to appreciate and euj y it It would be a lasting disgrace to the pls'.ce U this—the only remaining choral society, should be allowed to fall to the ground, and it would bo well for tne members to bcsir

themselves and support the efforts of their energetic conductor to place the society in as good position numerically as we understand that it is financially' Without good attendance at rehearsals it is impossible to perform really satisfactorily. It is true that poor materials may be worked intogood form withdiligent and atten • five practice, but the best condu-tor in the world could not bring to efficiency the moat able individual performers who will not put themselves in the way to work together. Now the attendances since the last concert have been so small, that of necessity this concert has been much delayed, and it seems to have been anticipated by most that last evening's performance would have proved very considerably below the ordinary standard, whereas such was not the case. It was certainly not the beat that the society has given, but still it was very enjoyable, and Mr Parker must be complimented on the way he kept the parts together, especially considering the fact that he had only superintended two rehearsals. It is strange that amateur choristers can so seldom be made to understand the necessity of watching their conductor's baton ; and it was this neglect which last evening caused the occasional want cf firmness which was noticeable.

Haydn's cantata (improperly called an oratorio) the " Seasons," is far less generally known than his "Creation," a fact not easy to account for, as it would be hard to choose between the merits of the two works. Whilst in the latter work there is certainly more variety, yet in the former the attempts at musical imagery are lesß extravagant, still the emotions connected withjand consequen upon the descriptive text are always vividly and aptly expressed in the music. Th instrumental overture is supposed to describe the passage from winter to spring, after which (introduced by a triple recitative) is the sweet and placid chorus " Come gentle spring," which for smooth and even writing could scarce be surpassed. The various incidents of spring are then told by the three solo voices in turn, with also a couple of choral movements. The terzetto and chorus, " Be propitious," is full of devotional fervour in the first part, and warms with anticipation at the words " with power of produce bless the land," when the first subject is dropped, and an attractive and well developed fugue occurs, accompanied with a fine flowing bass " Spring" is ended with the majestic chorus (interspersed with a few sweet bars for the solo voices) " God of Light." The second part by no means has the interest of the former, though*here is one of the most charming soprano airs we 'could desire—" Oh how pleasing to the senses"— the first part of which is calm and quiet, and needing to be sung with tender serenity, anon bursting into a more bright and vigorous movement, requiring much flexibility of voice, and at the end of this part there ia also the very beautiful trio and chorus, " Now cease the conflicts," which gradually lulls and sinks peacefully " to rest away." Still beyond these and a short baritone aria (somewhat alia siciliana) " From out the field" there is not much of interest in the part. " Autumn" opens with a short bright overture ; another triple recitative leads into the terzetto and chorus, "Thus nature ever kind," which in the latter part is an exceedingly fine fugal movement, and is rendered towards the close additionally effective by the antiphonal phrases between chorus and solo voices. "Ye gay and painted fair" isavery delicious (though rather too protracted) duet for soprano and tenor, and one may wonder that it has not found its way more into mis cellaneous concert programmes, for it is throughout most pleasing. In both of these two la9t parts there was a great deal omitted, and in most instances the cuts were most judicious, though one or two that were left out could ill be spared. The final chorus of "Autumn" ('Joyful the liquor flows") is a fine bold piece of harmony. Of the la9t part (" Winter ") there were only four numbers given,the overture and the short but very sweet soprano cavatina, " Life and light dejected languish," and a few bars of bass recitative used as an introduction to the finale, "Then comes the dawn of that great morn," which opens with a bold horn obligato, followed by short passages for the solo voices answering the choral questions, and concluding with a fine vigorous fugue, which forms a fitting close to the work. The solo parts were rendered by Miss Rosina Carandina, Mr Appleby, and Mr Knox. There cannot be much to speak of as to the real performances of each, as they are all well known as singers who Bpare no pains to execute faithfully the parts allotted to them. Miss Rosina Carandini's best piece of singing was perhaps the most difficult that she had to perform—namely, the aria in " Summer," " Oh. how pleasing to the j senses," where she fully interpreted the varying strains; but, though more simple and quiet, the sweet cavatina in " Winter " (" Light and life ") was perhaps even more pleasing, showing to advantage the smooth and even tones of her voice. But where all was so well sung it is difficult to institute [comparisons ; suffice it to say that the many different styles required were faithfully performed. Mr Appleby appeared to best advantage in the duet, " Spring her lovely charms unfolding," and in the opening of the terzetto, "Be propitious," both of which were well and clearly sung. There was wanting a little firmness in attack, which at times militated against his performance, especially in the recitando parts ; but otherwise his singing was most pleasing. Uowever, where Mr Appleby was weakest Mr Knox was most effective, his recitative being delivered with clear intonation, and being boldly declaimed. The finale. " Now from the dawn," was the part best suited to his voice, and was excellently sung, and so also was the first aria, " With joy the impatient husbandmen," which introduces some phrases from the composer's "Surprise" symphony, with charming effect. Of the chorus we have spoken in general terms, hinting at the reason why they were not as effective as they sometimes have been, but still on the whole their yerformatce was decidedly good, reflecting great credit on their regular conductor, Mr Knox, and the few who resolutely work with him. At the pauses there were hesitations consequent on a want of attention to Mr Parker's beat, and also in a few of the leads, but otherwise the singing w; 8 tolerably firm and decided, and the calando in the final chorus of "Summer" was moat delicate. The placid, " Come gentle spring," and the more vigorous, "Joyful the liquor flows" also deserve special mention. The band was fairly efficient, considering the ~ few rehearsals attended, and was as usual admirably led by Mr C Bonnington, whose firm and 6teady bowing is well adapted to classical

music. An improvement was instituted in the shape of a pianoforte instead of the harmonium, as heretofore; and also the recitatives were left to be played by the one performer on that instrument instead of by the band : for it cannot be expected that the isolated chords can be struck with due precision by many executants, who neldom meet together, and with a new conductor. Mr Neville Barnett presided at the piano and played through the whole of the work.