FIRST CONCERT OF SEASON

Press, Volume LXXXVI, Issue 26121, 25 May 1950, Page 3

FIRST CONCERT OF SEASON

CHRISTCHURCH SYMPHONY ORCHESTRA There was a fairly large audience in the Civic Theatre last evening for J the first concert of the season by the I Christchurch Symphony Orchestra. It i would be quite wrong to suggest that the performance was of first-class standard, or even up to the standard set by the orchestra in some previous concerts. Faulty intonation, lack of cohesion, a more than generous crop of notes unsuggested by the composers, and an insensitiveness to really musical expression, balance, and phrasing all tended to mar this recital if it be judged by absolute standards. However, there was also much of the playing which showed that this orchestra is capable of being a most useful and competent adjunct to the musical life of the city. The majority of the players are well-known performers and are capable of considerably better work individually than they gave—in the main—collectively. The conductor, Mr Kirk-Burnnand, is a man of wide experience. It follows, therefore, that lack of sufficient rehearsal, and choice of music unsuitable for this group of instruments supply the explanation of the present problem. Both of these things can be easily remedied. Given such players, the orchestra can be moulded into a really fine combination—provided that the players are willing, for the sake of the great object in view, to give the amount of time necessary to achieve it. Secondly, if there is not enough music of suitable standard available in New Zealand, then it must be provided for this orchestra, and money so invested will return a fine cultural dividend.

Both the Egmont Overture and the Symphony No. 1 in C major by Beethoven were under-rehearsed. Even when an orchestra is note perfect in these works—and this claim could scarcely be maintained on this occasion—so much remains to be given in finesse of phrasing, choice of dynamics, nuance and balance before they can reasonably be presented in public performance. All this takes time, thought and experience of playing together. The rendering of Bach’s “Sheep May Safely Graze” was thoroughly unfortunate. for some false leads made chaos out of what could have been an interesting piece of orchestration.

In the second half of the programme things were, on the whole, on a much higher level. Sibelius’s “Valse Lyrique” was somewhat heavy and lacking in real rhythmic life anta Wagner’s “Dreams” was marred by faulty intonation, although a praiseworthy attempt was made to capture the atmosphere of the work. The orchestra was heard at its best in the “Scenes Pittoresques” by Massenet and in the Overture to “The Merry Wives of Windsor” by Nicolai. Both works were well within the capabilities of the orchestra at its present stage of development and the performances had verve, colour and vitality. Miss Marjorie Chapman played the ’cello solo in the Air de Ballet with expressive feeling and fine tone, and the wood-wind section was heard to advantage in this also. In the Angelus Mr Clarence Crawford showed how beautifully a diminuendo can be graded even on tubular bells. In all his work Mr Crawford played in firstclass orchestral style. Congratulations must be given to Mr Jack Goldsmith who, although a newcomer to the small ranks of oboe players, acquitted himself most creditably. Mr Maitland McCutcheon gave capable leadership throughout the evening. C.F.B.