Musical

Southern Cross, Volume 1, Issue 39, 23 December 1893, Page 16

Musical

A RETROSPECT. At Christmas time it has become the custom to expect an oratorio performance from the Invercargill Choral Union, and Handel's “ Messiah,” the most appropriate of all the oratorios for this season of the year, has just heen given with great success. An overflowing audience on the first and a capital house on the second night hore testimony to the appreciation in which this young but flourishing" Society is held. As evidence, too, of the great interest taken in the music a keen discussion has been going on in the dailies with regard to the correct manner of rendering Handelian recitative. Without expressing any opinion upon this important question, we are delighted to see that so much interest is taken in these matters, and in order to stimulate further that interest we propose giving a short account of the good work already done hy the Choral Union, which we hope will long exist to foster the love for the Divine Art in our midst, to cultivate the classics among its members, and to educate the taste of the general public for music of the very best kind. What Invercargill would be without music is really too deplorable a condition to contemplate. The activity shown in this department of fine art is highly creditable to the place, and especially are we to be congratulated upon the quality as well as the quantity of the work done. Year by year it would seem that good music is being more and more appreciated. This shows that those who have the control of it in Invercargill are doing their duty and are striving to promote a love of this most refining influence. The Invercargill Orchestral Union, too, is exerting a most beneficial effect upon the district, and we shall be pleased to further its efforts to popularise good instrumental music by calling attention to its efforts in the cause.

After the Invercargill Philharmonic Society unfortunately “ expired ” in, we think, the year 1886, the only combined musical organisations here were the classes of Mr Chas. Gray, who arrived late in 1885. The Mendelssohn Class conducted by this gentleman performed Mendelssohn’s part songs first of all, and then gave a selection from the same composer’s Hymn of Praise.” A performance Harnett’s “ Ancient Mariner ” followed in Sloan’s Theatre, as it was called. Public interest being by this time aroused, the present Choral Union was started in 1891, their first programme consisting of Sir Wm. Sterndale Bennett's charming Cantata, “ The May Queeen,” in part one, with a miscellaneous second part. The cantata was given in a modest soil of way, with orchestral accompaniment, in Hanan s Hall. They next appeared in the Theatre Royal, where, on the 30th October, 1891, Barnett’s favourite cantata, “ The Ancient Mariner,” was repeated, this time with orchestral accompaniment, followed by an attractive miscellaneous second part, which appeared to give a great deal of satisfaction. Encouraged by the appreciation of the public and an increased roll of workins: members, the Choral Union essayed, with much success, Handel’s u Messiah ” on Tuesday, 22nd December, 1891, when the band and chorus numbered about one hundred. The first concert of the second series comprised Co wen’s “ Rose Maidrni,” and Gaul’s “Joan of Arc,” the latterwork more particularly coming in for very general approval. On Dec. 15th, 1892, Mendelssohn’s “ Elijah ” served to introduce to an Invercargill audience Mr John Prouse, of Wellington, whose singing of the music of the Prophet is still recalled as a great treat by all those privileged to be present. From this time forward the audiences at these concerts have grown considerably. A miscellaneous programme consisting of • Gade s Spring’s Message,” and a selection of high -class vocal and instrumental

music served for their last concert of the second series on the second series on 27th June, 1893, which was followed on sth September by a performance of Haydn’s “ Creation,” to hear which the largest audience up to date assembled in the Theatre Royal. Last week Handel’s immortal work, “The Messsiah,” with band and chorus of about 140, finished the third series of concerts. On the occa-. sion. the committee engaged Mr H. Weir, of Christchurch, to sing the tenor solo music, and the innovation was successfully tried of performing it for two nights. The Choral Union has every reason to be proud of this record, and we trust that the good work already done will be followed by renewed and enthusiastic efforts on the part of its working members, and increased appi’eciation of its invaluable services to the cause of music by the general public. The Orchestral Union was started by Mr W. V. Sicldall, to whom so much credit is due for the excellence of our brass band playing. For several years this gentleman’s enthusiastic efforts fostered this important branch of must al work. In 1891 Mr Chas. Gray took over the conductorship of this organisation, and it is interesting to note as time goes on the increased excellence of their programmes and the gradual growth of the Society’s influence. To do this it is only necessary to enumerate some of the items of their rapidly-increas-ing repertory. Overtures ;—“Marionettes” (Gurlitt), “Cheval de Bronze” (Auber), “ Rosamunde ” (Schubert), “Pique Dame” (Suppe), “Tancredi” (Rossini), “ Leichte Cavallerie ” (Suppe), “Zampa” (Kerold), “Merry Wives of Windsor” (Nicolai). Selections: “FraDiavolo” (Auber), “La Juive” (Halevy), “Faust” (Gounod), “ Carmen ” (Bizet), “ Lohengrin ” (Wagner), “ Martha ” (Flotow). Among other works which have been performed wholly or in part may be mentioned Sullivan’s Henry AM II Incidental music and Cowen's Suite, “ The Language of Flowers,” Boccherini’s Minuet for muted strings, Strauss’ grand concert waltzes, “ Kuntzler Leben,” and “ Die Schwalben,” Michaeli’s “ Turkish Patrol,” Schumann’s “ Traumerei ” and “Kleine Komanze pizzicatos; “Herz and Herz ” (Latann), “ Elf Land ” and “ Fairy Land ” (Barnett) ; and the following marches: —“Cornelius,” “Wedding,” and “Athalie” (Mendelsshon), “ Imperial ” (Dorn), “Funeral” (Chopin), “ Tannhauser” (Wagner). When it is remembered that without our talented and capable orchestra] players Oratorio and Cantata would be practically impossible, it will be seen how important this branch of music-cultivation is. Heavy demands upon skill and time for adequate practice are constantly made upon those ladies and gentlemen who form the orchestral contingent of our musical forces. They readily and willingly respond to the repeated calls upon them, and they deserve even more encouragement and appreciation than they get. All praise is due to one and all who, for the honour and glory of Music, work so loyally and well under the baton of their chiefs. They deserve well of the public, and sooner or later, w r e doubt not, will meet with their reward.