Partsongs. MALE-VOICE Choirs. 'The sailor's return' (Fletcher). 'Wanderer's song' (Delius). 'Song of the robbers' (Weingartner). QUEEN'S HALL Eisteddfod.-November 20. Mr. D. B. COLNE MUSICAL FESTIVAL.-December 6 and 7. Mr. Dominus illuminatus mea' (H. Walford Davies). CHESTER EISTEDDFOD.-December 26. Mr. D. Rees A performance by the Festival Choir of the late ColeridgeTaylor's popular Bon-bon Suite' (choral), to take place under the baton of Mr. Harry Evans, will be a tribute to the memory of the composer. The programmes of the other concerts are not yet definitely announced, but it is certain that special notice will be taken of the death of Canon Gorton, who was one of the originators of the Festival. In order to make it easier for choirs to enter for the chief choral classes in this event and the Festival to be held at Birmingham next May, it has been arranged that the tests to some extent shall be the same for both Festivals. There will be two Church Festival services, conducted respectively by Mr. Harry Evans and Mr. Sydney Nicholson. We trust that this scheme will receive the hearty support of choirs and soloists from all parts of the country. ABERGAVENNY. ROYAL NATIONAL EISTteddfod. August 4 to 8, 1913. Evans, Chester House, Chester. 1913. Mr. J. WORKINGTON (CUMBERLAND).—January 1, 2. QUEEN'S PARK CONGREGATIONAL CHURCH.-January 13, HUDDERSFIELD (Mrs. Sunderland's Competition).- PEOPLE'S PALACE MUSICAL FESTIVAL (Classes 7 and 8).— MORLEY.-February 22. Mr. Albert Sykes, 3, New Park The tests in the principal music sections are announced CARLISLE.-March 3, 4, 5, 6. to be: MEXBOROUGH.-October 4, 5. Mr. S. R. Johnson, 4, Don STOCKSBRIDGE (NEAR SHEFFIELD).-October 4, 5. Mr. 29a, Aglionby Street. Mrs. Nigel Buchanan, MANCHESTER (Sol-fa Association).—March 8. Mr. T. WIRRAL (CHESHIRE).-April 4, 5. Mr. Clement Jones, West Sussex (Arundel, &c.).—April 4, 5. Retford (NORTH NOTTS)-April 7, 8, 9. Miss Hermione BOURNE (LINCS)-April 8, 9. Miss Bell, Bourne, Lincs. GAINSBOROUGH.-April 16, 17. The Hon. Mrs. Sandars, LEYBURN (WENSLEYDALE).-April 16, 17. Rev. W. OUNDLE.-April 18, 19. Lady Lilford, Lilford Hall. MID-SOMERSET (BATH).-April 22, 23, 24. COLERAINE (N. IRELAND).—April 24, 25. Mrs. Huston, PONTEFRACT.-April 29, May 1. Mr. A. M. Storr, MORECAMBE.-April 29, 30, May 1, 2, 3. Mr. W. C. WEYMOUTH (Dorset Choral Association).-May 7. MENAI BRIDGE (Anglesey Eisteddfod).-May 12, 13. BLACKPOOL-October 8 to 12. The Secretary, Festival ABERDEEN (N.E. SCOTLAND).-May 21, 23, 24, 25. TALKE.-October 12 and 14. Mr. W. Coleclough, 141, MAIDSTONE (KENT).-May 28, 30, 31. KEIGHLEY (The 'Summerscales' Competition).-October 19 NOTTINGHAM.-October 26. Mr. F. Purdy, I, Claremont BARROW.-November 7, 8, 9. Mr. T. J. Symons, 42, Earl Street, Maidstone. Mr. S. G. Dilnot, Council ROYAL NATIONAL EISTEDDFOd of Wales (Abergavenny). Contralto Solo: Pleading' (Elgar).-1, Miss Elsie Hulmie (Liverpool). 17. Higson). prin CHIEF CH Walsall Madrigal Society (Mr. Frank Mulliart of St. Kidderminster Harmonic Society (Mr. R. A Whittaker). MALE heroes( Barrow Madrigal Society (Mrs. Bourne). andly Lign The Scarborough Choir (Dr. Thomas Ely sublime Orpheus Glee Society (eauty. E Higgin). Hanley and District Choral Society (M) Redfern). LADIES Des (Coleridg Stretford Glee and Madrigal Society (ee Colne Valley Vocal Union (Dr. T. E. P ONGREGATION Halifax Madrigal Society (Mr. Harry Sy ligh Warburton). A novelty at the gathering will be an exhibit (Cha Tenor Solo: Love in her eyes sits playing' (Handel).—Country, and Sword-Dances, on which M Girls' Solo (under sixteen) : 'The first violet' (Mendelssohn).-1, Miss Florrie Jones (Anfield). The other adjudicators will be: Dr. Niane hat de Solla, Mr. F. Bonavia (strings), Mess Baritone Solo: 'The Bedouin love song' (Pinsuti).1, Mr. Llew. Powell (Rhydymwyn, near Wrexham). The proceedings were held under the highly capable management of Mr. Llew. Wynne. Dr. McNaught and regretted in competition circles, was typ The late Mr. Coleridge-Taylor, whose de Mr. Harry Evans adjudicated, and Madame Maggie Evans and Miss Millicent Richards were the official accompanists. THE BLACKPOOL FESTIVAL. (October 8, 9, 10, 11, 12.) RECORD ENTRIES. It The entries for this Festival have now been received, and show the extraordinary interest the event excites. would seem that the appetite grows upon what it feeds. As will be seen below, the vocal soloists alone number 608, and the choral entries in the chief class are unprecedentedly numerous, no fewer than seventeen choirs having undertaken to come forward. It is estimated that during the week there will be between six and seven thousand competitors. The following is a compressed list of the entries. Duplicate entries for sight-reading, which are unusually numerous, are omitted: hears Price 3d. Partsongs. THE SCHOOL MUSIC REVIEW-OCTOBER 1, 1919. MALE-VOICE CHOIRS. 'The sailor's return' (Fletcher). Song of the robbers' (Weingartner). The programmes of the other concerts are not yet nitely announced, but it is certain that special notice will ken of the death of Canon Gorton, who was one of the pators of the Festival. order to make it easier for choirs to enter for the choral classes in this event and the Festival to be held mingham next May, it has been arranged that the tests e extent shall be the same for both Festivals. re will be two Church Festival services, conducted vely by Mr. Harry Evans and Mr. by son. ust that this scene w receive the hearty support and soloists from a parts of the country. ABERGAVENNY. ROYAL NATION & ESITEDDFOD August 313 CHESTER EISTEDDrop. December 40. WORKINGTON (CUMBERLAND), January 1, 4, Mr. #. J. Howen, s in the principa mouse and Cer CHIEF CHORAL COMPETITION part of 'St. Paul Meterssonny MALE-VOICE CHOCES n heroes' (Cyri Jenne, kindly Light Frotter, maccompaner SECOND CHORAL COMPETITION. e sublime' (Jephta Bane. LADIES' CHOTEL ies' (Coleridge-Tavior. thee' (The bride of Camerror. Smart, CONGREGATIONAL CHOTEL Thy light' (Hadies Warm I will bless for ever CHILDREN'S CHOIRS g'(Roland Rogers, e' (Charles Vincent,, BOYS' CHOIRS. en lane' (Rathbone). ORIGAL COMPETITION. sporting' (Pearsall.. erds, follow me benet, PETITIONS AND NAMES OF 1912. jd. Ми Нершіння " CA- 2 Laos, Lalford Hall Frederic be GHAM) Boss G. 1. Bower and F. W. INE SCOTLAND), LAM 3d. ૩તા. 2d. H. Smart and Snowdrops he summer night y horn ... d of wonders... " " " e birds that sit and sing soft the shades of ening creep ow sweet is summer morning Now May is here Penillion Singing.—Mr. John Williams, Ponkey. (under 18).-Mr. Joe ap Morgan, Gwaencaegurwen. Triple Harp Solo.-Miss Freda Holland, Birkenhead. Small Harp Solo.-1st prize, Miss A. C. Lloyd, Bala. Pedal-harp Solo.-Mr. Taliesin Morgan, Aberdare. Pianoforte Solo (Open).-Miss Crosland Taylor, Chester. Violin Solo (Open).-Miss Enid A. Brock, Waterloo. 'Cello Solo.-Mr. Geraint Williams, Ystalyfera. Flute Solo.-Mr. John L. Coups, Macclesfield. Trio (Pianoforte Violin and 'Cello).—Miss Leadbetter, Miss Llewellyn Davies, and Miss Loxham, all of Wrexham. String Quartette.-Mr. Greenhaigh's party, Bolton. The Composition Classes were fairly numerous, and brought forth some work of exceptional merit, especially in the instrumental compositions for violin and organ. The prizes offered by the Eisteddfod Committee were won by Mr. Walter Williams of Bury, for the best orchestral arrangement of the accompaniments to two songs by W. Davies and R. S. Hughes. These were performed at Tuesday's concert. Mr. Cyril Jenkins (Treorchy) captured the prize offered for a bass song, and he also sent in the best descriptive male chorus, which was disqualified, since it had already been published by a London firm. The prizes given by the National Eisteddfod Association were all won by Mr. Cyril Jenkins. These were for an Andante for organ, Reverie for violin, and three songs to words by Ceiriog. A portion of the prize for the latter was withheld, as the judges did not consider that the setting of one song reflected the spirit of the poem. There was much confusion on the opening day-an overloaded programme and no time-table. The genial conductor -or master of the ceremonies-Llew Tegid, very neatly said that he had come to the conclusion that the chief use of the Eisteddfod programme was to enable him to display his skill in skipping from one item to another. Consequently, since no one was ready to proceed with item No. 5, he would skip to item 23, which was proceeded with! This was the case more or less all the week, and it is amazing that committees do not profit by past experience in this, as in other matters of management The marvellous thing is that the work is got through at all. But there are many who believe that if the happy-go-lucky method had to give way to a business-like method, and a well thought out rigid time-table as at English Competition Festivals, the Eisteddfod would not thrive as it does now! With all its faults, it is a wonderful institution. It is as full of vitality as ever, and it appeals to the whole nation as does no other national institution. Surely it is time to abolish children's recitations, small harp solos, &c., that can only be heard by a small fraction of the audience. Then in fairness to solo singers who prepare two songs, and are asked to sing one or part of one only in the Pavilion, as was the case at Wrexham, the marks obtained in the preliminary test (at any rate in the omitted song at the final) should be added to the marks gained in the Pavilion. Mr. Peter Williams, chairman of the musical committee, in his address gave expression to a view that has on more than one occasion been publicly expressed by some Welsh musicians, viz., that an advisory board shouldunder the auspices of the National Eisteddfod-be appointed to help the local committees of National Eisteddfodau in the selection of test-pieces, in order to ensure a graded selection from year to year and to prevent the ebb and flow that now takes place. composition by the inclusion of Dr. Thomas's 'Llyn y Fan' and Mr. Maldwyn Price's orchestral work, but they were public-spirited enough to include Brahms's noble ⚫ German Requiem' in the week's work-a big step forward in the history of Eisteddfod concerts-in addition to Handel's 'Israel in Egypt.' The choir of 300 voices was an uncommonly good one, and had been well-trained by Mr. Wilfrid Jones, who deserves great credit for his work. The orchestra was quite capable this year, including as it did many of the most experienced Liverpool and Manchester players and led by Mr. Vasco V. Akeroyd. Dr. Thomas conducted a very good performance of his work, which was first produced at Swansea Eisteddfod in 1907, and the impression created then was confirmed at Wrexham. The technique is skilful, and there is much effective colouring, both vocal and orchestral, in spite of many unconscious reminiscent phrases-mainly Wagnerian, though Mendelssohn's Wedding march' theme is heard, appropriately enough, in the final section of the work. Miss Amy Evans, Mr. David Ellis, and Mr. Powell Edwards were the soloists, and all did well. Mr. Maldwyn Price's orchestral pieces showed much promise, though there is nothing new in the material, and the Saltarello is surely modelled on Mr. Edward German's work! But one could discern a certainty of touch and a genius for orchestral colouring which raises great hopes for Mr. Price's future career. The Requiem was given a capital performance chorally, but the accompaniments were rather ragged and uncontrolled. Madame Wilna and Mr. Ivor Foster both distinguished themselves in the solo work. After Brahms's Requiem,' Handel's 'Israel in Egypt' was rather disappointing. There was a lack of enthusiasm and grip, though the work had been thoroughly learned, and the long pauses between the choruses created uneasiness in the audience. The soloists were Miss Edith Evans, Miss Edith Davies, Miss Phyllis Lett, Mr. Gervase Elwes, Mr. Charles James, and Mr. David Hughes. Miscellaneous concerts of the very popular' order were given on Monday and Friday evening, Mr. Stephenson's Wrexham Orchestra taking part in the latter. The artists were: Monday-Madame Laura Evans-Williams, Madame Ada Crossley, Mr Hughes Macklin, Mr. R. Emlyn Davies, Miss Marie Novello (solo pianoforte), Mr. S. A. Duce (solo violin), and Mr. R. Purcell Jones (solo 'cello). FridayMiss Edith Evans, Miss Gwladys Roberts, Mr. Thomas Thomas, Mr. Richard Evans, Miss Leadbetter (solo violin), and Miss Loxham (solo pianoforte). The platform superintendent was Mr. Llew. Wynne. He greatly assisted the marshalling of the choirs whenever his organizing skill had a fair chance. The following are additional criticisms of the singing in the male-voice class, held on the fourth day. MOUNTAIN ASH.-Arranged with a very long front; interval. two or three deep. Conductor entered after considerable blending. (a) Sung in Welsh. Fair unity, but imperfect chord Soon lost pitch badly. Ist tenor strained. Allegro attack alert here. Meno mosso, very severely accented. Why? Not at all expressive. Killed Cantabile. Last movement sung with no special animation or point. Tone always musical. Never moving or thrilling. (b) Sung in English. At once tenors failed in intonation. Whole choir rarely chorded well. Lacked delicacy. Displayed poor technique; occasional spurts of good attack. The triplets were uneven. Lost pitch. The need of such a Board is strikingly obvious if one compares next year's disappointing musical scheme (Abergavenny) with the Wrexham programme. Most (c) Again the conspicuously bad chording, the intonation modern part-songs are a closed book to Welsh choirs. This should not be, and were there some system in the selection of music, some consideration for artistic development and less for gate-money, Welsh choirs would have the same opportunity of becoming acquainted with what is bestmodern and classical-in choral music. The judges were Mr. Granville Bantock, Dr. Walford Davies, Mr. Harry Evans, Mr. Dan Price, Mr. Owen Jones, Dr. Caradog Roberts, and Dr. Thomas. THE CONCerts. The promoters are to be heartily congratulated on the programme drawn up. Not only did they encourage Welsh of the parts being in conflict. Bars 16, 31, 35 very bad indeed. Bar 43 began on wrong note. Bass an excellent tone. A laboured performance. Did not realise moods; missed intensity and significance. Lost a whole tone. PENYWERN (DOWLAIS).-(a) Again a long formation. Query better more compact? Sung in English. At once a Big, imposing climaxes. Obvious unity in attack; sometimes mood suggested by the words. Charged with significance. too forcible. Technique excellent. Tone always musical; but not specially resonant. pp (pages 8 and 9) quite beautiful. Meno mosso well read, and the end movement had moving expression and great vitality. An interpretation! (6) Welsh. Again the clear execution. Polished and delicate, and effects well proportioned, and sostenuto realised. Particularly sweet piano. The Welsh vowels blended attractively. A sincerely emotional and moving performance. (c) Attack splendid. Execution fluent and secure. Expansions fair, if not imposing. The chief feature the well-prepared execution and the insight of the interpretation. Pitch was lost, unfortunately. The passage Creep to death' was splendidly done, going down to the depth of the words. NOTE (after all choirs had sung): The interpretation of this section was the finest achievement of the whole competition.] The end, although below pitch, was delicately shaded and well controlled by conductor. EBENEZER. (a) English. A full, rich tone and a solemn opening. The inner parts well served. The tenor sometimes over-urged and tone therefore fell off in quality. Impressive expression. Meno mosso not quite cantabile enough. March of the rhythm at the end movement very good at first, then there was some hurry that hindered unity of attack. Picturesque, well-thought-out expression. (6) Good tone and pretty blend at the opening. No especial attraction in the expression. Tone rough occasionally. Lacked daintiness and charm. Many good technical features. On the whole fair, but without special distinction. Not always in tune. (c) Chording uncertain. Lower parts groping tonal attack. 2nd bass a fine tone; good reading at 'murmuring breath.' Bars 33 to 35 missed nobility of expression. The end bars were hazy as attack. Allegro con fuoco was majestic and sung as though by one Beneath its surge. Truly a solemn moment! The choir was dead in tune when tendency to exaggeration. The tenuto marks, especially just too fervid. Ist bass seemed weak for the balance. The expression lacked the indispensable sincerity—as though they did not take to the piece. The climax on the end page was exciting. COLNE. (a) English. A brilliant, ringing tone different from anything hitherto heard in the competition. Not very PLYMOUTH. - (a) English. A full tone. Attack full. Opening movement sung with passionate yearningexcellent. Basses rich. Tenors fair-overpressed occasionally -tended to shout at climaxes. A dramatic interpretation, but the colours were too pronounced-gaudy. The expansions were too great. The marks of expression were slavishly followed, and nearly always overdone. The control of the conductor was remarkable. The technique of the choir was excellent, but it was often misapplied. The last movement was brilliant, and the tone had a splendid ring. (b) Much to admire in the exactness of the attack and the polish of the execution. But it was too machine-like—cold. | Nearly every mark of expression was exaggerated, and seemed an end rather than a means. Colour for colour's sake! (c) Industrious. Obviously rehearsed conscientiously. But again the misapplied technique. The dynamic contrasts were so vivid, one almost forgot what the words were about. Here and there an oasis of real, moving expression. [NOTE. If this conductor, who exhibits such high qualities as a trainer, can gain more insight as to the object of expression marks, and relate them to general interpretation, his choir will be an exceptionally fine one.] MARITIME (Pontypridd).-(a) Welsh. Small choir relatively. Seemed inexperienced. A sharp pace, and for a time well knit. The pointed staccato was a mistake made rhythm wrongly dainty. Tone agreeable-the tenors excellent. Meno messo too fast, and not at all cantabile, and the accompaniment used forcibly as though loss of pitch was feared. The vitality of the last movement was a welcome surprise. Words fairly clear. (6) Welsh. Very good part-singing. Well controlled; the choir seemed so plastic. Unity a conspicuous feature. The ebb and flow of the crescendo, &c., arranged with judgment, and the expression always of the sincere and arresting kind. An excellent performance. (c) Good opening. Technique and tone fair, but no defined mood-too formal. Obedient to marks, yet not Tenuto made staccato. very expressive. Staccato overdone. The halves and thirds, bar 33, not correctly related. 'Creep to death' well-conceived. Some rather jerky effects marred an otherwise thoughtful interpretation. An excessive staccato on the last page, and blossom,' was distressing. SWANSEA. (a) English. A massive tone and rich blend. Like a fine organ, only better. Execution unified and under firm control. Moody. At the piu mosso there was a really beautiful cantabile-never defaced by intrusive staccato. The composer must have felt proud of his music here. The Intonation of (6) English. Blend in pp excellent. tenors uncertain. Some good dynamic effects, but again the expression lacked mood. Some tenderness achieved at the end. (c) Again more technique of a high standard and not much depth of expression. The choir seemed to give mechanical obedience. The execution was fluent, and there were fine tonal climaxes. The end was imposing as tone if not so attractive as interpretation. [W. G. McN. EALING.-August 24. The Co-partnership Festival, held at Brentham Garden Suburb, Ealing, drew a satisfactory number of competing choirs, who had the advantage of Mr. Allen Gill's advice as adjudicator. In a new class for male-voice choirs, the Temperance Union, of Willesden (Mr. Morgan Morgans), won the prize against five competitors, namely, Hertford Festival Choir, Horsham, Wood Green Adult School, Seven Kings Men's Meeting, and Cynthia Glee Society. In the contest for the Earl Grey Challenge Shield for Male-voice Choirs, Gloucester Choir (Mr. S. W. Underwood) were successful against Mixed-voice Choirs was won by Brentham (Mr. Albert Portsmouth (Mr. C. Weedon). The Excelsior Shield for Thompson) against Willesden (Mr. J. J. Bowen). There were junior choral contests in which Stratford (Mr. Alfred Sears) and Long Eaton (Mr. W. Woolley) won trophies. The festivities included a pageant, Merrier England,' to which Mr. Albert Thompson's Brentham Choir contributed chorally. CO-OPERATIVE CHORAL ASSOCIATION. RUGBY.-September 7. The tenth annual competitive Festival of the Midland Section was a notable success. Ten entries were made in the section for mixed-voice choirs, and an advanced standard was shown by the competing bodies. Derby won the challenge shield for the fifth year in succession; Annesley Woodhouse were second, Grimsby third, and Leicester fourth. Prizes for solo singing were won by Miss Burchnall, Miss Elise Baggley, Mr. T. B. Hoyle, and Mrs. A. R. Speechly. |