HARMONIC SOCIETY'S CONCERT.

Nelson Evening Mail, Volume XVI, Issue 137, 10 June 1881, Page 2

HARMONIC SOCIETY'S CONCERT.

Last night's concert of this Society was of more than usual interest) hot on account of the genius of tne composer whose work was attempted, nor on account of tbe perfection of tbe execution, but because, as far as we know, Herr Randegger'a cantata of Fridolin is tbe first example attempted here of the work of that bold and thoughtful school j who, with Wagner as leader, dare to call themselves the •' musicians of the future." .We do not know what rank is accorded to Herr Randegger in this brother hoed, and last night's performance does not enable an amateur to judge of the positive merits of the piect, but the characteristics of the school from an amateur's point of view can be felt through the drawbacks and defects. Theie, we imagine, to consist in resolute efforts after fuller freedom. Tbe " linked sW«otness long drawn out,'' which delighted tbe elder giants of tbe art down to the days of Mendelssohn ii a chain which the new »ehool throw off, and iustfead ol a meshwork of melodies that seize on tbe memory for ever, |we have "motifs" — snatches of sweetness arising from time to time to be rapidly submerged again in the vortex of discord or strauge imitation of sounds not hitherto classed as music. This is not from a lack of capacity for melody in the school, for Wagner himself has shown tbat he can feolit out ' his feelings in song as original as sweet. Unconsciously, perhaps, the school feels form of all kinds to be a restraint. Tbe same feeling sways in the matter of harmony. Wagner inveighs agaiost the slavery of the "tone families," that is, as we understand it> tbe ordinary musical scales. It is, we are assured, customary to write the parts of a concerted piece in different keys, and it might. well be imagined last night that at times all the recognised scales of the earlier musicians were in use at once, if, indeed, the performers were not moving at their own sweet will through the whole unbounded field of " tones." We congratulate the Society on having found its way at all through many of the chromatic crossings tbat beguile the unwary chorister. It implied a real effort on their part, great resolution in the conductor, and a tranquil certainty in the youthful accompanyist that ought not to fail of recognition. This reminds Us to say that a composition of the new school cannot he understood fully without an orchestra. They are pre-eminent in orchestralism, Wagner in this respect standing in the very highest level; we had almost dared to say above even Beethoven. Tbe sustained notes of the string and wind instruments are essentiil, too, to the support of the voices in their difficulties and are ill replaced by the percussive piano even in tbe ablest bands. Some of the pieces are broad and melodious. Tbe duet in Canon for soprano and tenor won an encore. The weaving chorus of the ladies, and tbe hunting chorus may be claimed as belonging to the " music of the past." Tbe smiths' chorus is evidently picturesque and splendid but needs a much greater pace for effect. The fortissimo of the tenor and chorus in the Are Maria was probably according to the score, but with a limited choir and in a small room the individual voices fail to blend properly, and an effect of shouting wao produced.

We trust the piece may not be abandoned wholly. Meantime the Society must have profited by its study, and most music will come easy to them after it.

A pianoforte duet by Madame Summerhayes and Mils Mantou was charmingly limpid, and Madame Summerhayes gave a fantasia by Lizt on a melody from Rigoletto, hardly, we think, worthy of the high reputation of the composer, yet showing the pianiste's brilliant and exact execution.

A serious ballad by Mr Pickering and a tremendously patriotic one by the hecretary filled up the second part, and were both well received, the latter being encored.