John Brownlee and the Wellington Symphony Orchestra

Radio Record, Volume VI, Issue 42, 28 April 1933, Page 3

John Brownlee and the Wellington Symphony Orchestra

All Board Stations to Relay ¥ Outstanding Wellington Concert

HE feature of next weck’s radio fare in New Zealand will unquestionably be the relay of the concert to be given in the Wellington Town Hall by John Brownlee, the world-famed baritone, with the Wellington Symphony Orchestra. To enable listeners throughout the Dominion to hear this outstanding musical entertainment, the Broadcasting Board has made arrangements for all its stations to be linked in a national "hook-up," and in addition the concert will be relayed’ by land lines by the stations at Palmerston North, Hamilton, and Masterton. An additional attraction will be the appearance of Mr. Brownlee’s ~ saccompanist, Mr. Raymond Lambert, who will be heard during the X earlier portion of the programme in Greig’s "Concerto in A Minor," ‘with full orchestra, under Mr. Leon de Mauny. The following annotations of the music-vocal, piano and orches-tral-to be presented will perhaps enable listeners to derive the fullest enjoyment from the programme:

The Wellington Symphony Orchestra will open the programme with the overture "Rienzi," by Wagner. In accordance with Wagner’s custom the overture is developed from the principal themes which occur in the opera itself, and thus is an effective, if perhaps somewhat blatant, epitome of the entire work. More than one commentator has expressed the view that this overture was the origin of Wagner being labelled "a noisy composer"-a reputation which, once acquired, has stuck to him obstinately ever since. After a few bars of impressive introduction, tt overture opens with the theme of Rienzi’s prayer, a noble and dramatic melody, given out by, all the strings and repeated with the addition of the woodwind and brass. The principal motif of the allegro energico which follows consists of a phrase from the close of Act I, associated with the cry of the Roman citizens for freedom, and is delivered with great force by the whole orchestra. This is succeeded by the shrill call to arms, sounded by the trumpets and trombones, taken from Act III, and after a repetition of the "prayer" theme a fourth subject is introduced, a lively melody derived from the finale to the second act. The orchestra goes on its way through noisy. _ agitated passages, reflecting the turbulent scenes "to be enacted in the opera. The coda is a veritable welter of sound, terminated by twelve massive chords of D Major. The overture is ostentatous, brilliant, and rich in colour, but possesses one noble melody which in itself has largely

contributed te the wundoubted popularity of the work. The next item is by Mr Ravmond

Lambert, who will play Grieg’s "Coucerto in A Minor," for pianotorte and orchestra. HIS concerto has perhaps done more. than even the famous "Peer Gynt" suites to establish the fame of its composer. It is characterised by a juvenile freshness of invention, combined with a degree of maturestechnical skill quite surprising, considering that it was composed when Grieg was only twenty-five years of age. It is a model in the way in which it avoids both of the common defects of being either a symphony with pianoforte accompaniment or a show-piece for the

soloist with orchestral accompaniment. This concerto. inevitably included in the-re-pertoire of all great pianists, is one of the most beautiful specimens of its kind. The dreamy charm of the opening movement, the long-drawn sweetness of the adagio and the graceful fairy music of the final allegro never fails to win the affection of an audience. Unfortunately, Grieg wrote only one pianoforte concerto. _ His physical health was extremely delicate; he had only one lung (due to an evidently neglected pleurisy in his early youth), and after the exertion of so sustained a work as this piano-concerto his medical ‘adviser forbade so prolonged a task again. As will be noticed in all Grieg’s compositions, this work is of a distinctly national character, the romantic charm of Norwegian folk-music has probably never been put to a more artistic use. Following this item, John Brownlee will be heard in an aria, "So, Sir Page," from "The Marriage of Figaro,’ by Mozart. This opera is based upon the.same story as Rossini’s "Barber of ’ Seville": in ‘fact it is in a sense a sequel to the latter, although composed some thirty years previously. This aria is sung by Figaro towards the close of ‘the first act. Count Almaviva is chag~ ~ rined finding his page Cherubino making ardent love to the Countess and other ladies of his court, and in a fit of rage banishes the boy from the castle. In response to the Countess’s pleading, however, he relents. (Continued on page } --

PROGRAMME: Overture: Wellington Symphony Orchestra, "‘Rienzi’’" (Wagner). Piano: Mr. Raymond Lambert, "Concerto for Pianoforte and Orchestra in A Minor,’ Op. 16 (Grieg). Ist Movement, "‘Allegto Molto Moderato’; 2nd Movement, ‘Adagio’; 3rd Movement ‘‘Allegro Moderato." Baritone: Mr. John Brownlee, "Aria from "The Marriage of Figaro,’ So Sir Page’" (Mozart). Orchestral: Wellington Symphony Orchestra, "Symphony No. 41 in C Major (‘Jupiter’) (Mozart): ‘Allegro Vivace,"’ "‘Andante Cantabile," ‘‘Menuetto,"’ "Allegro Molto." Two Arias: Mr. John Brownlee, "O Star of Eve’? (Wagner); "Prologue" (Leoncavallo). Rhapsody: Wellington Symphony Orchestra, "‘A Shropshire Lad" (Butterworth) ;\ ‘Coronation March" (from ‘Le Prophete’’) (Meyerbeer) ’

{J ohn Brownlee Concert enone

(Continued from page 3.) He gives the lad a commission in his own regiment, and bids him begone and take up his military duties. It is here that Figaro, hearing that the page is to become a soldier, sings to him this dashing martial air, "Non piu andrai, farfallone amoroso." (Play no more the part of lover.) Mozart is said to have been inordinatély proud of this fine air. When the rehearsal for the first performance was taking place, the singers and members of the orchéstra burst into joud applause and vociferously acclaimed the composer, who was present on the stage, Next on the programme is the "Symphony No. 41 in C Major" ("Jupiter"), by @lozart, which will be played by the orclestra. The precise origin of the popular sub-title of this symphony-"Jupiter"-is shrouded in mystery, but it is generally agreed that it was introduced by some unknown person after Mozart’s death, It has been claimed that this title was coined to indicate a certain massiveness of ideas embodied in the symphony, and it must be conceded that the designation is not altogether inapt. In the last movement, particularly, we find the construction so elaborate and of such surpassing grandeur. and magnificence, and yet wearing so light and spontaneous an aspect, that it is difficult for the layman to form any Xnotion of the colossal art development there accomplished. Such a perception is not, however, necessary to the highest enjoyment of this grand finale, as it is safe to say that this majestic movement has caused the "Jupiter" Symphony to be placed first in popular favour, among Mozart’s symphonic works. Mozart's contribution to musica! literature was prodigious. Besides an immense number of compositions for pianoforte, orthestra, violin, and voices, he composed no fewer than forty-one symphonies, but of these only the last three have attained real popularity. These three symphonies. were produced in hot haste at the following amazingly brief intervals:-The "BH Wlat Major," June 26, 1788; the "G Minor," July 25; and the "C Major" ("Jupiter"), on Auglee iHollow-‘O Star of Eve," from "Tannhauser" (Wagner), and ‘"Prologue," from "Pagliacci" (Leoncavallo). The first wonderfully tender and beautiful "Song to the Bvening Star" is sung by Wolfram as Blizabeth leaves him after they have vainly searched the returning pilgrims for any sign of her penitent lover-Tanuhauser, As night falis the saintly Elizabeth returns co the castle, there to die'of a broken heart, and, watching her retreating form, Wolfram, who has loved her so long and so well, realises that he can give her no comfort. Accompanying _ himself on his lyre, he sings this touchYe farewell song to the dear star which ust 0. S¥§o operatic arias by- John Brown feels will so soon vanish before his eyes, In the person of Wolfram, Wagner created a tine character, conspicuous for its tender, manly beauty. Himself in love with Elizabeth, he remains loyal to his friend, the renegade Tannhauser,

who returns only in time to see the funeral of the woman he has loved. "Prologue" opens the opera "Pagliacci," a somewhat bold stroke on the part of the composer. The majority of Leoncavallo’s operas were failures, but "Pagliacci" was an immediate and outstanding success, and still remains one of the most popular operas in the operatie repertory. ; After a short orchestral introduction. Tonio (a clown). pushes his head through the curtains, and, coming on to the stage, sings the aria, ‘Si puo? Signore e Signori" (a word. allow me, ladies and gentlemen). ‘The song tells us that actors are beings of flesh and

blood like the rest of humanity, and it indicates all the human passions which they feel and have to act upon the stage. The words assume, in the opera, a dread significance as the story spells bitter tragedy. A second song is sung by Tonio"Un nido di memorie" (a song of tender memories}. In this aria Tonio sings of the emotions of the author. w ho, with a song of tender memories ringing in his heart, has committed his sighs and tears to paper.. And now, on the stage. the actors will bring them once again to life, and all the tragedy and passion of their own lives shall find. expression in their acting. . ‘An excellent programme will conclude with two items by the orchestra. the first being ‘A Shropshire Lad." The composer, Lieut, George 8. K. Butterworth, M.C.; was born in London, and edueated at Trinity College, Oxford. where he was the leading epiit in the musical activities of the under-gradu-ates. "Ile studied for some time at the Royal College of Music, subsequent to_ taking his Oxford degree, and seems

then to have devoted himself. assiduously to the collection of English folksongs. The thoroughly national spirit of his compositions is therefore. not surprising, and, although he has seidom actually employed traditional melodies, it is evident that he assimilated the essence of British folkmusic. Butterworth’s art is typical of the modern British school to which he be-longed-sympathetie, original, but above all, impressionistic. Impressionism has been a beneficial phase in Eng-. lish music, a kind -of apprenticeship through which our composers found their individuality. Perhaps in his partiality for unusual seales we can de tect the influence, consicous or uncon: scious, of Claude Debussy. Unquesy tionably England possessed, in this young composer, a gifted musician of whom much was expected, but this was not to be, as he was killéd in action in the Battle of the Somme, August, 1916 _ This rhapsody does not definitely interpret the poem upon which it is based ("Shropshire Lad"-.A, ©. Housman), but rather does it suggest the feelings of one who had heard the song long ago, and in whom the memory of ‘it stirs vague regrets and longings. In this musie resides the puré essence of beauty. The concluding item will be "Coronation March," from "Le Prophete* )(Meyerbeer). Giacomo Meyerbeer, although born and educated in Germany. did not receive adequate recognition from his countrymen. evidently owing to his cosmopolitan tendencies, so ut a comparatively early age he journeyed to Paris, where his operatie compositions were an almost immédiate success; indeed he is regarded as the founder of what is generally understood as modern French grand opera. Meyerbeer composed an extensive repertoire in operas. the most important being "Robert le Diable,"’ "Les Hugenots," "Le Prophete," and, "I Africaine." He did a great deal to aid the development of modern orchestration. being responsible tor the introduction of certain brass instruments, notably the bass tuba and the sax-tromba, which he required for the better rendering of his orchestral effects, This famous grand march occurs in the fourth act of the opera, as the great procession enters the cathedral for the eoronation. of the Prophet, John of Leyden. who was the central figure in the Anabaptist rising in Holland and Germany during the sixteenth century. The march opens with a solemn majestic air in keeping with the impressive ceremony about to commence, and is interspersed here and there with penetrating trumpet calls which in the opera itself, are played by a band on the stage. The trio portion of the march consists of a broad dignified melody, and is one of the finest tunes ever written by Meyerbeer.. Contrary to precedent, the coda introduces a new theme which, emerging from brilliant trumpet fan-ffhres, brings the march to a most pempous and inspiring conclusion.

4YA's rowing and yachting an- | nouncer. Mr. Camp is frequently heard during the season from 4YA, describing the various events on the Upper and Lower Harbour. -He was the first announcer in New Zealand to describe the Sanders Cup yachting series when the race was sailed on Otago Harbour in 1931; and at the request of the Canterbury Yachting Association he was engaged to describe this year’s race, which was sailed on Lyttelton Harbour. In addition, Mr. Camp delivers talks from 4YA _ on _ incidents in the days of the sailing ship.