CHRISTMAS FESTIVAL.

Globe, Volume VII, Issue 782, 22 December 1876, Page 3

CHRISTMAS FESTIVAL.

Handel’s great masterpiece, the “ Messiah,” is now looked forward to by musical folks almost with the regularity of the Christmas season itself ; it is the crowning of the year’s music in a multitude of places. Christchurch endeavors not to be behindhand in this respect, and although for some time we have been debarred from hearing great choral works performed at the former customary intervals, the advent of Christmaatide proved to be the herald of the resuscitation of the prince of oratorios, and the Harmonic Society raked together its almost dying embers, end, inviting the assistance of musical friends, bestirred itself to bring forward the usual Christmas musical dish. Let ns hope that now the society has at length toused itself to resume hearty work, that it may nob again languish ; for it would be a serious and lasting disgrace for a city of the dimensions (and wo may say, the protensions) of Christchurch to fail in supportin';' one Choral bociety—to allow it to become a fact that a once flourishing society drooped and died simply from an absence of musical interest. It cannot be said for lack of musical talent, because though perhaps we could never aspire to perform the groat works of the great composers really in their entirety, and really in their integrity—for we have not a sufficient number of executants to give adequate effect to those mighty tonal ■thoughts; (nor with all respect be it said) have we enough of musicians who sufficiently trainee! to combine to give a thoroughly intelligent interpretation of the various ideas ; stiil if all who can work will work in music’s cause, none here need ever despair of hearing a very fair rendering of those compositions of worth which are lie fnned to in other places. Now, as to the actual performance, there can be bub little question that the choral numbers were infinitely the best, not but that the soloists in moat instances acquitted themselves fairly, and in some cases well, but they were so poorly supported (if evfr» it can be said they were really supported al- - by the orchestra, that it was rather a

relief when many of them were concluded Of course there were certain individuals among the number whose presence was a guarantee that their own work was well and conscientiously done, but on the whole there was in the quieter portions a lamentable want if unanimity, and an utter absence of care it persons undertake to do a thing, that hieg must be done with heart and soul: rehearsals mast not be shirked or. gone through in a perfunctory manner ; and if oand and chorus do this, there need he little rhat the most hypercritical would cavil at. Now having said thus much in dispraise, we may mention the numbers moat pleasing, Of course a description of such a work is needless, and oven a detailed notice is un necessary. Miss Ada Taylor sang all the soprano airs Her cultivated voice waa well used, and she sang her part most carefully throughout Perhaps her best effort was tbe second part of “He shall feed” (“Come unto him’) which was a most feeling and devotional piece of singing. As to “ Rejoice greatly,” Miss Taylor was, last evening, scarcely up to it (partly from lack of due support), but there was much in “ I know that my Redeemer liveth ” that was very enjoyable, though, albeit, rather too quiet; still her part was throughout a great treat. Miss E. Rowley sang the greater portion of the contralto solos, and rang them very nicely indeed; “He was despised” was y< odered with great care and considerable pathos, and so also was “He shall feed His Hock.’ Miss Perkins gave“Q Thou that idlest ” with care and intelligence. Mr Appleby sang that gem among recitatives, “ Thy rebuke hath broken his heart,” with very great feeling, interpreting the spirit of music and words most truly, though his other numbers were not in any way worthy to be compared with this. Mr Rowley sang his part of “ Thou shalt dash them” with great vigour and clearness. Mr Merton gave his assistance in the bass solos of the first part; his voice has not now the calibre for a building of such a size, but the notes were all there, and carefully produced ; indeed in many ways his singing was a great treat. There was a care and conscientiousness evinced which is not common, Mr Knox performed those of the second half with a fire and life which few can throw into their work, and though greater care is really needed in the production of notes to give the passages with due effect, still his singing was most refresh ing, and he never spaces himself when power and vigour are needed. The chorus showed that great attention had been bestowed on them by Mr Parker, whose services had been procured as conductor. The best item waa “ For unto us;” for while considerable delicacy was displayed in many parts, the fuller passages were rendered with decision and firmness. The piano passages which Sir Michael Coata introduced are very effective, and Mr Parker acted wisely in adhering to the “ reading” given by that great director. That great testpiece, “ And he shall purify,” was performed better than might have been anticipated, but it was too much for the chorus, and so also was “He trusted in God,” but the majority of the choruses were rendered better than we have before heard them here Mr Searell presided at the organ with much ability. He labored under great disadvantage in one respect, in that it is very difficult to know how much organ to use, for what is overpowering in some positions of the hall is scarcely audible in others, still a little more 16ft pedal work might have been used with advantage, for it would have given the “ body” which in most numbers waa wanting, A wise regulation was put in force last evening. There usually seems to be a popular idea that musical performers cannot get through a composition of any pretension to length without an adjournment for a considerable space of time. On this occasion this was not permitted (and wisely so) and during the interval between the parts, Mr Neville Barnett performed on the organ one of those celebrated concertos which Handel wrote especially for such times. The concerto of course was scored for organ and orchestra and being in a somewhat popular style, was intended to reconcile the audience to tbe (then considered) heavy choral work. The one chosen last night was that in the key of F, being No 4 of the set, and consists of four movements, allegro , andante maestoso , adagio, and finale, allegro fugato.