The Richmond Virginian. (Richmond, Va.) 1910-1920, 1919-08-08
NAOR|GAl SOCIETY
UNIQUE ENGLISH CLUB

The Elizahethan Madrigal Society
recently gave It's first concert since
the war in the Concert Hall of the
Royal College of Music. Formerly
this association was known as the
Magpies Madrigal Society, and had a
distinguished career under the con-
ductorshio of Lieut.. Col. lionel Ben
coming to an end In 1911, it re-
emerged as the Elixabethan Madrigal
Society. and is now conducted by Or
r.. r. Terry. The choir consists mainly
of amateurs lsome 10 members). and
has set itself to perform plenty of
, modern music as we'll as those six
tcenth century madrigals from which
! II takes It's name. Certainly there was
nothing dry-as-dust about the pro-
gram offered: It's charm was an I'M
deniable as welcome.
The madrigals chosen included Bon
Jour, Mon Occur" by di Lasso; the
famous silver Swan" by Orlando
Gibbons: an exquisite and tender
lullaby by William Byrd. "All Crea-
lures Now Are Merry Minded" by
John Benea from The Triumphs OF
Orianao; two-part canZonet
When 10. by Break of Morning" by
| Thomas Morley. and the more modern
madrigais, Take Heed, Ye Shepherd
SWANS, hy de PearsaH
In all Of these the choir gave a good
general impression OF the music. but
there was not that welding of the
voice.: into a homogeneous whole. not
that impersonal dignity and undeviat =
ing excellence which the old choral
style demands The amateur tend
ency toward individualism rather than
teamwork made itself felt. However
In the modern music the singers got
that unifying impulse which they
! lacked in the older things for these
part songs were by Sir Hubert Perry
their former president: Music, When
Soft Voices Die" and Come, Pretty
| Wag." and "Heraclitus." by Sir
Charles Stanford.
These were far and away the most
effectively written vocal things given
that evening Gin spite Of all that is
said OF the golden age OF Eliza
bethan choral music). and the choir
rose to the opportunity splendidly.
Three groups Of harpsichord solos
brilliantly played by Mrs. Gordon
Woodhousc on that instrument itself
were at once an aesthetic deught and
historical revelation. For in a
harpsichord. the sustaining power OF
the fundamental tone of each note
struck is comparatively short; while
The overtones are heard ringing on
above FAR more clearly than ia the
case in modern piano. with its solid.
Fat notes This mass OF audible float
ing overtones constitutes one OF the
peculiar beauties of the harpsichord.
and the Old English composers were
quick to avail themselves of it. A
particularly fine example PLAYED by
Mrs. Gordon Woodhouse, was gall
Hard by Or. John Bull G5s0), n work
IN which the poetical import far ex-
ceeded dance form there was some
Thing dark. spacious, and cloudy
about tt--an Idea of immensity con-
N"ye7 by slender means This and
an incisive and witty piece called
aMyselfe. also by John Bull. made
one realize. as no written history
could do, Why his contem poraries held
hin1 In such high estimation A toe
csta and fugue by Purcell were
wholly delicious, but the group OF
preiudes and fugues, by j. s Bach
proved less conienting to listen to.
Tor. though greater as music, they
seemed 10 reach forward demanding
the modern piano tone.
Some Northumbrian folk songs
were sung by Mrs. Arnol Davies. and
ne concert wound up with four tradi-
ponal chanues pronounced shan
ties }, in which the attractive voice
and unstudied air OF enjoyment OF
the soloist, lieutenant colonel the.
Hon. Stuart p Bouverie. D. s o.
were exactly right for these rafting
sailor songs The refrains, sung In
unison by the men OF the choir. were
remarkably effactiyo