Music in Patea.

Patea Mail, 28 February 1882, Page 3

Music in Patea.

The average attendance at the quarterly concerts of the Harmonic Society is increasing, even where the programme has no leading novelty. An audience like that which attended the concert last Friday would have seemed a great crowd in the smaller area of the old halh A select audience, fairly numerous, is more desirable than a big crowd on such occasions, with disturbing noises.

This concert was notable for the improved quality of the band, including a remarkable instrumental duet; and for a regrettable weakness of the bass contingent, with a want of volume in all the male parts of the choruses. The leading male voices have to exhaust themselves in the choruses, ami have then to sustain trying solo parts, and stand the racket of exacting criticism; The soprano and contralto voices being more numerous, the individual strain is less in solo pieces. The band was strengthened by the addition of two first violins. If a good bass could be added, the quality of tone would be appreciably improved. A better understanding is needed as to giving the time, for one or two players seemed to run away with the rest. The brass instruments are attaining a pleasing proficiency; as instanced in the duett of cornet and brass baritone, which was a good illustration of rapid amateur skill. The other instrumental duett, violin and piano,- was one of those exhibitions which excite interest in a peculiar degree. Mr Connolly is a young violinist of special promise, his taste being as nice as his execution is delicate; and his visit from Wellington was opportune. The niece is a little wonder as a pianist; and together the relatives ‘‘ brought down the house,” and responded with a successful encore. The chorus singing was so good on the average that little fault need be indicated. More voices, or at least more volume, would appreciably improve the general result, and would have the important incidental effect of inducing more couruge to strike in at the responsive passages, where leading voices have to exhaust strength and vigilance in giving (he right note at the right moment. If they relax vigilance, or snatch a brief rest, the other voices are apt to sink into quavering uncertainty. Precision is a telling quality in chorus singing; yet there is loss weakness in this respect than was noticeable in some previous concerts. The society as a wkole is gaining courage and precision by continuous practice of choral music. Even good voices are lost where confidence is wanting; and of course reliance comes of increasing skill. The varied pieces in the first part were judiciously chosen. Among the solo songs, Mr Kendall’s “ Shake of the hand ” needed more cordial zest to suggest the appropriate sentiment. His delicate voice is heard to better effect in a smaller room. The soprano song “ Bide a-wee ” was pretty with a touch of sadness, yet perhaps too tremulous. A duet of lovely harmony, “ When the wind blows from the sea,” was sweetly sung by mother and daughter, soprano and contralto, and gained an encore. The latter singer was also to have repeated her successful old-style ferry song, but substituted for it one less captivating, yet soft and pure in manner. Her style is unblemished by affectation, and is a pleasing model. The “ Vagabond ” song (bass) and the double trio “ Great Apollo "■ were fairly good.

The second part was Birch’s opeietta, “ Eveleen, the Rose of the Vale,” repeated after an interval of nearly a year. Some choruses have been. also made familiar on other occasions. A ballad accompanying the semi-chorus “Perfume of summer ” was sung excellently by an improving soprano. Mr Tennent sang the sweet ballad “ Scenes of my childhood,” the sentiment being pretty and rendered with feeling. “ Cheerily tripping along the gay mead ” is a blithesome chorus, with a tenor solo on “ Peaceful Nightthe chorus and solo

going excellently. The band had ample room for display in the “ Pastoral Symphony ” and the “ Maypole dance.” A. fuller orchestra is needed to do justice to these compositions, and large allowance should be made where the conditions are not favorable. The tenor ballad “ Then for thee 1 breathe a sigh” was sung nicely; the voice a little hoarse. Another ballad, “ There’s a cot in the vale,” was a tenor song requiring flexible expression ; and Mr Taplin earned compliments for his success. The most telling piece in the operetta was a duet by soprano and tenor, “ The harvest moon the voices blending harmoniously. The final chorus “Sing merrily, sing cheerily,” has become a local favorite. The conductor and members are working up a society which with increasing numbers will soon bo excellent.