GISBORNE ORCHESTRAL SOCIETY.

Gisborne Times, Volume XXVII, Issue 2535, 23 June 1909, Page 5

GISBORNE ORCHESTRAL SOCIETY.

SUBSCRIPTION Concert. hv T +lf S £ le ? did work that is being done i Gisborne Orchestra] Society has g been recognised by the musicloving public, so "that it was not surprisnig that His Majesty's Theatre should be crowded last evening—every available seat being booked— when the Society’s first subscription concert for j.'ho present season was given. Since tlXf Gisborne Orchestral Society last appeared before the public, the membership' has been, considerably increased, and c'cs rehearsals have been in progress for .some months, the opening concert was awaited with no small amount of interest by subscribers who loyally renewed their support, and that loyalty was fully reciprocated by Mr. M. L. Foster and the talented instrumentalists under his direction. The programme prepared for last evening was a treat only to be ajipreciated by those fortunate enough to be present, and the audience showed their appreciation! by persistent recalls and round upon round of applause. The opening orchestral number was Beethoven’s overture “Prometheus,” which was first produced under the baton of the great composer himself in the Berg , Theatre, Vienna, in 1801. The overture is rich in character, of great symphonic purity, and decidedly “"Beethoven” .in conception. The piece opens in the adagio movement, the stringed instruments predominating, while the melody, though subdued, is always ■ present. Gradually the mellow strains give place to a more vigorous movement, the graceful motions of a dance are suggested, the harmony being preserved in a wonderful manner. Weird strains telling the mythical story of the old Greek legend follow, and the composition concludes with a strong finale. The interpretation given last evening was a splendid one, and the audience rewarded the performers with well-deserved applause. The next orchestral number was that stirring martial composition, “Turkish Patrol,” by the famous Austrian composer, Theodore Michaelis, and illustrates the approach, passing by, and gradual disappearance of a Turkish military force. The music, which is purely_l_Oriental in character, is full of rich, strong melody. When the patrol opens, the muffled strains are heard in the distance, the music gradually increases in strength as if the patrol was approach? ing, there is an outburst of strong, inspiring music, the patrol passes by, and gradually - its accompanying strains are heard to die away. The march was interpreted last evening with great brilliancy, and the orchestra was heard to its full strength: the audience refusing to be satisfied until an encore was granted. Sidney Jones’ charming light opera, “The Geisha,” provided the foundation for the next orchestral number, and the most welcome and catchy of the movements of the opera were included. The music was alternately distinctly English, and Japanese, and the contrasts were most satisfying. The selection commenced with the opening chorus to the first act, included The In; terfering Parrot,” “A Geisha s Life, “Love Love,” “Chon Ivina," Amorous Goldfish. 5 * 4 ‘Chin Chin Chinaman/’ £ lf you will come to tea/ “Mimosa.” and e.c-sed 'vn.li «ie S l ;}. 1 , 11 -* j opening chorus to the second act. li e ; number awakened many o.d mcnioiics i among the audience of the once popular opera, the light music at once be- j. came familiar, while the more sent:- i mental items, especially "The Amorous i Goldfish.” which was made a fine cor- ; net solo, won many friends. The auen- j ence, needless to say. demandeu an en- j core, and the demand was acceded to. j The closing orchestral number was Ed; j ward German’s “Coronation March, originally composed as the prelude to the fourth act of incidental music for the late Sir Henry Irving’s production of Shakespeare’s “Henry \ 111- at the Lyceum Theatre, London, m IStL. ihc march is most impressive, stately in character, and almost seems to possess i royal atmosphere. The melody is quaint and was well characterised by the parts written especially for the oboe and the piccolo. The impressive interpretation so pleased the audience , that the march had to be The oboe is one of the most delicate and refined of wind instruments yet it is capable of the most perfect inflections of tone, and the truest expression of feeling. The Italian composer Mezzacapo was himself an oboist, anu his “Tristesse” or “Song of Sadness, is one of his best known compositions for his fayorite instrument. I he so.o W as in the hands of Mr. A. J- Stron 0 last evening, and a high’y artistic interpretation was given. Mr. played with- great feeling -and tenderness:? The instrument was wow plaintive,- now animated, pathos and mournf ulhess being the predommatm features, and Mir. Strong was accorded a-well deserved encore. Lari Aiberstoetter’s “Ballade,” tor harp and orchestra, . was the other lnstrumen solo on the programme, the harpist be in- Mr. D. Vita. The composition is rich in tone, strong in color, and essentially one that shows the finerj quality tones of the harp. The J 3 / 1 / 1 /. opens with some soft orchestral melody which is taken up by the harp and carried to its full richness and value. The orchestra again is 1(a A tllo harp strains always dominant, but the whole orchestration b/nidmg peifectly. Air Vita gave a most ci edit able mu probation of the solo, and his finer am fascinating trills upon the strings proved' his executive ability. _ , Miss Blanche Garland is not new on the concert platform m Gisborne, but, nevertheless, she is none the less a - vorite. Miss Garland sang at the Gis borne Orchestral Society & concert last season, and last evening it was appu rent that the interval ot time had done much to develop the nghness of bor voice. Her first number was Alma G-oetz’s short- song, “Melisandc m ie Wood,” which was most, artistically in tor meted. Miss Garland’s voice has gained in breadth and. resonance and there is a deeper and richer quality ot tone than before. Her lower notes were SfeaMsssS sympathy that is so essentially SteLtio of that class of mus.c. In (Kathorme Bto*y>, Mta to a leoaU U<1 ‘ C M?: K'an I’oat. X has a light , baritone, voi“ll Gastay Kmntel’s sea. song, { wUr! Vikin<* 5 * and with orchestral accomnanimint Edward Elgar’s fine pat; viotic song “frand Hope and Air Teat was heard to advantage in his second number. He sang with power and freedom, and the song as . such a success that an encore had to b °'!V * 1“ FMer, who is . the Wical -dkecteol- the.iC^rchcstraF^Or,

ciety, unstinted praise is u*. work done by the instrumentalist evening. Mrs. Foster, who acted. a<?cQ»3panist, also carried out her c ies faithfully; while groat credit is < to the untiring work of the honor] secretary, Mr, Jas. Chrisp, and j members of the committee, Messrs B. Palairet, C. Adair, J. Brown, E.j Cuthbert, and J. Adair. The Bri mead upright grand piano used at i concert was kindly lent by Messrs ! Chrisp and Sons, wliile the members! the orchestra were: —Ist Vio.ins, M dames H, J. Brownlee, 11. Fa ram, Humphries, Miss Jiobineon, Messrs J. Brownlee, E. M. Cuthbert, J. Vi' A. Lang, A, Warnecke; 2nd violii Misses M. Malcolm, M. Neill. P. F cher. I. Sweet* Messrs A. Xlhinesmit J. Vita, It. F. Findlay, S. Oxenhai violas, Messrs J. Brown, F. B, Palairc H. Solvander; ’cellos, Me&dames Js Clirisp and M. L. Foster, Mr J. A&i contra basses. Messrs C. Adair and 1 Andrew; flutes, Messrs A. It. Don ar M. Vita; clarinets, Messrs T. Barr: dough and G. V. Strong; oboe, M A. J. Strong; bassoon, air. A. Morgan saxaphone, Mr. H. A. Barton; cornet Messrs J. Chrisp and F. Pettie; Freer horns, Messrs T. Williams.and It. Oxei ham; trombones, Mefcsrs Lawrence. S* hire Dayman; harp, Mr. D. Vita tympani. Mr. A. A. Baldrey; bas drum, Mr. W. Itobertson; side drum etc., Mr. T. Donovan.