“THE MESSIAH”

Sun (Auckland), Volume I, Issue 229, 16 December 1927, Page 15

“THE MESSIAH”

A SUCCESSFUL PERFORMANCE Of listening to Handel, how many ways there have been. While 18thcentury London was “running” him, Hogarth was making ill-tempered caricatures of the composer, his singers, and his audiences. A hundred years late, Samuel Butler gave to Handel alone the worship that he denied to the idea of God—at that very

time when musical England was discovering the nobler mastery of Bach. More recently a distinguished critic, the late John F. Runciman, declared that Handel was not only the greatest of composers but the greatest of men. And this year Compton Mackenzie has written that “The Messiah” is “the music of port wine and apoplexy—the kind of music which the butcher Cumberland could enjoy.” Such divided counsels might trouble the plain man, moderately musical, if he had not his wholesome contempt for all the craft or mystery of criticism. Handel continues to be revered by many musical and many other people; and for the other, Handel means “The Messiah”—a peculiarly British function, more religious, or habitual, than artistic.

Last evening’s performance by the Choral Society, under Mr. Colin Muston’s direction, was heard by a large audience. It proceeded on familiar lines: was not noticeably better or worse than those of recent years. The choral work was done with uncompromising vigour and directness. A genteel or finical rendering would be unbearable; but there is perhaps a middle way between too much art and too little. Apart from questions of interpretation, or its absence, the voluminous tone was sometimes ill-balanced — the sopranos had their will on many pages. The most musicianly work was done in the great tragic choruses of the second part, “Behold the Lamb of God” and “Surely He Hath Borne Our Griefs.”

Of the soloists, Miss Naomi Whalley was heard with special interest. Hers is assuredly a delightful voice, but it still requires careful training, on the evidence of this last concert. The soft singing, with all its delicate prettiness, was too one-coloured; and in fuller tone there was an undesirable tightening of the throat muscles. But these faults, and some others, should be easily removed at Miss Whalley’s tender age. She seems to have the intelligence and fine feeling that do rot always accompany such charming tone.

Madame Irene Ainsley was successful in two, at least, of her solos. “O Thou that Tellest” and “He Shall Feed His Flock” were richly and expressively sung, with only some of the flaws most incident to contraltos. But in “He was Despised” the very slow and much broken tempo, and the excess of dark chest-resonance, combined to make a somewhat depressing performance yet a popular one.

Mr. Ernest McKinlay’s voice was not in the best condition, but his work had much merit. He showed an unusual interest in the “words”—an ear for fine and unaffected diction; and his interpretations had the dignity end controlled emotion that are needful. He gave a quite beautiful reading of the “Passion-music”; and “Thou Shalt Break Them” approached being a notable success.

Mr. Drayton Venables is probably more heavy-baritone than bass, and some of this music appeared too law for him. “Why Do the Nations?” failed to make its customary effect.

The orchestra seemed to reach, or slightly to improve upon, its usual standard. The Allegro Moderato of the Overture was taken rather slowly, but this was probably well advised. It would be tiresome to remark again that the accompaniments were sometimes louder than the soloists required. —Pv.J.B.