ABERDARE BOYS’ GRAMMAR SCHOOL’S performance of Handel’s “Acis and Galatea,” attracted a large audience to the Coliseum. The public’s usual interest in the annual appearance of the school choir on the Coliseum stage had been stimulated top an even greater degree in anticipation of hearing two nationally known musicians in key roles in the orchestra.

In the event, the edge of anticipation was not dulled, and the performances of Philip Jones who until recently was principal oboe at Sadler’s Wells, and Patricia Lynden, for six years principal flautist at the Royal Opera House, Covent Garden, were among the highlights of a very successful presentation of this delightful work.

The soloists were soprano Josephine Nendick,tenor Malcolm Robertson, and bass Noel Noble. The orchestra was led by Morgan Lloyd, with T. R. James, B.Sc., L.R.A.M., piano continuo, and the conductor was Mr. P. E. Phillips, M.A.

This work was Handel’s first dramatic work in his adopted language, and was performed for his patron, The Duke of Chandos, at the latter’s country seat, Cannons, near Edgeware, with small choir of boys and men and small orchestra in. 1718. The plot is taken from Greek mythology and is as improbable as most things of its kind which were very popular at that time, but their dramatic changes of mood were just the things to stimulate Handel’s imagination, in which vein he was always a his best.

It tells of Acis’s love for Galatea, complete with chorus of nymphs and shepherds, and a giant, Polyphemus, who also burns with love for Galatea, who naturally wants none of him. Acis rashly rallies to protect her from the amorous advances of this incongruous lover, in consequence of which Polyphemus ferociously assaults him with a rock, and not unnaturally causes his death. The chorus bewail the loss but remind Galatea of her immortal powers upon which she revives Acis in the form of a fountain, which she causes to spring from the very rock that killed him, while the chorus rejoices in this “gentle murmuring stream, still thy gentle love.”

MELODIC INVENTION

The score is a wonderful example of Handel’s melodic inventiveness and there is vivid and colourful portrayal, as well as moving moments in the choruses, and the whole illustrates amazingly the results he achieved by relatively simple means.

Mr. Phillips piloted his forces with a crisp confidence from first to last, securing accurate attack in the choral entries, and inspiring the choir with a like confidence that established itself with the first chorus. The boys sang splendidly, and the choir in general responded well to all the conductor asked of them, to good effect, notably in the sighing of the lament in “Mourn All Ye Muses,” and in the measured polyphonic tread of “Wretched Lovers,” culminating in the crescendo of “Thundering Giant’s Roar.”

Mr. Phillips adopted tempi that were judicious and there is no doubt that with forces approximating those of Handel’s time, he achieved a performance in a style as Handelian as we are likely to get in these days, and the appreciation of the audience was very evident.

The three soloists contributed much that was enjoyable without entirely succeeding in their respective roles. Josephine Nendick, as Galatea, tended to be over sophisticated in her approach and her pianissimos were sometimes inaudible. As Acis, Malcolm Robertson was not ideally cast. The gentle shepherd needed to have a more lyrical and warmer roundness of tone, but the singing of both revealed a real effort at characterisation. The bass, Noel Noble, was very well endowed vocally. He had a voice of impressive range and quality, and in the testing tessitura of “Cease to Beauty,” was very good. When he is able to establish his personal characterisation in the recitative of “O Ruddier than the Cherry,” with a little more “bite,” and get the rhythm of the lumbering giant’s love-making, he will be very good indeed.

EFFECTIVE SOLO

Patricia Lynden’s contribution to this aria was extremely effective, the piccolo’s sparkling roulades high above the stave, seeming to mock the clumsy giant’s plodding attempt to express his love of Galatea, were brilliantly brought off.

Throughout the score, the oboe plays a prominent part and here we were treated to some beautiful and expressive phrasing by Philip Jones, the plaintive quality emerging here and there like a silver thread of individual design. We were indeed fortunate in having these two accomplished musicians in the orchestra.

During the interval the Head- master, Mr. Jesse Warren, made a speech of admirable brevity, without leaving anything relevant unsaid.

CONDUCTOR THANKED

In thanking Mr. Phillips for his splendid contribution over the years, he also paid tribute to the other helpers who had done much to perpetuate this happy event. Mr. Gwilym Williams, Mr. Gethin Evans and Mr. Meirion Jenkins had rendered sterling service for a number of years, but he was grateful to the staff generally, and in fact all were worthy of mention in this respect.

Mr. Warren referred to the excellent work of Madame Havard Lloyd in the school rehearsals, and to that of Mr. Colin Lawrence at the adult sessions. He was grateful to them both.

He took great pleasure in welcoming once more, Mr. Gwilym Ambrose, M.A., one of the founders of the society, now Principal of Caerleon College, and Mr. T. R. James, now headmaster at Brynmawr, who had conducted several of these events, and who came to assist at the piano every year. He was delighted to welcome them again.

There were several enjoyable Items in the concluding part of the concert the centre-piece undoubtedly being an oboe concerto played by Philip Jones. It was the oboe concerto by the Venetian composer, Marcello, who was a contemporary of Handel.

Now freelancing

PHILIP JONES who left Sadlers Wells a year ago has had a very busy year free-lancing, playing solos and chamber music in London and in many music clubs in the provinces.

He has played with all the leading conductors in all the London orchestras in symphony concerts, broad-casts and recording sessions, and lately has spent a great deal of time at Shepperton and Twickenham film studios recording music for many current films.

Last Friday he joined the B.B.C. Welsh Orchestra as first oboe and he Is the first Welshman to occupy the position. As well as working in Cardiff he will spend two or three days a week in London to fulfil his other engagements.

Impeccably played with a feeling for the graciousness of the eighteenth century style in nuance and phrasing it was the epitome of hard-won technique serving the art which communicates a sense of the beautiful from one to another. As an encore we had a. delightfully painted little piece by Rameau, and in this Philip was accompanied at the piano by Madame Havard Lloyd, in a most accomplished manner. She was complimented by all the artistes for her excellent work in the miscellaneous items.

This was a most enjoyable evening on all counts and long may this event continue to entertain us. It also does something more than merely entertain. Let us hope it will continue to do so for many years to come.