ORCHESTRAL CONCERT

Press, Volume LXXXVII, Issue 26492, 6 August 1951, Page 3

ORCHESTRAL CONCERT

PROGRAMME OF LIGHT MUSIC

Last evening the Christchurch Symphony Orchestra made its first public appearance this year, when it presented a programme of light music in the Civic Theatre.

On its showing one has little difficulty in drawing the conclusion that, potentially, this group is capable of good work. It possesses some fine individual players. Its numerical balance is satisfactory, and the new conductor Mr G. H. Potter is a musician of ability, who, given the opportunity, can weld the players into a cohesive and coherent ensemble. There were moments when he achieved this, and the result was most satisfying. But unfortunately these were counterpoised by numerous passages which were marred by tentative and ragged entries, weak tonal quality, bad intonation, lack of attention to the beat, insufficient dynamic contrasts, and phrasing which was not always aware of the significance of the composers’ intention.

The remedy lies in the players’ attitude to their work. Individual rehearsal is the secret to success, as it is in all concerted music-making. This orchestra can fulfil a useful function in the community. Mr Potter can help it; but the final determining factor is, and always will be, the will by each instrumentalist to master the intricacies of each work studied.

Fletcher’s "Woodland Sketches” was the most successful item. Its effective orchestration, using the more telling registers of several solo instruments, especially the flutes and trumpet, and its well-constructed tuttis with solid brass foundations, proved very satisfying. The percussion instruments were handled with marked skill. Intonation was seldom at fault, and only inattention to the conductor caused the end of the last movement to falter. The strength qf the brass section was apparent in Nicolai's “Merry Wives of Windsor” and in the last movement of Massenet’s “Scenes Picturesque.” The trumpet tone in the first of three Tchaikovsky pieces was beautiful; but in the last, the trombones and bassoon were badly out of tune. The strings improved throughout the evening. Intonation is the main problem. ’Cellos and basses frequently lapsed. However, the whole section were inspired to do their best in accompanying the charming flute duet in “Pique Dame.” Mozart’s well-known Serenade for Strings contains technical difficulties which tend to submerge the sense of style which must be present to make a success of the work. Perhaps, the choice of this work may lead to the consideration of similar compositions from the eighteenth century for future programmes. The names of Arne, Abel, Stamitz, J. C. Bach. Avison, and Stanley spring to mind. Colin Campbell (baritone) with Isabel Campbell (pianist) Presented two groups of songs. Mr Campbell’s very clear diction and smooth emission of tone impressed greatly. His sense of style and atmosphere was further enhanced by the accompaniments, which were played by Mrs Campbell with accuracy and taste. J-A.R.