Concert To Remember By Czech Wind Quintet

Press, Volume XCVIII, Issue 28922, 16 June 1959, Page 17

Concert To Remember By Czech Wind Quintet

The members of the Christchurch Chamber Music Society obviously greatly enjoyed the □laying of their guest artists —the Czech Wind Quintet —at the second concert of the season in the Civic Theatre last evening. Messrs Milos Kopecy (clarinet), Jan Heel (flute), Josef Schejbal (oboe), Karel Vacek (bassoon), and Miroslav Stefek (French horn), are members of the Czech Philharmonic Orchestra. The whole orchestra will play in Christchurch later in the year. As it can safely be,assumed that their standard of playing is characteristic of the playing of the orchestra as a whole, those fortunate enough to get into the concert can look forward to a night to remember. To hear a programme by a wind ensemble is a rare experience in this part of the world. We heard not only music that was unfamiliar, but also qualities of sound that came as a surprise. The playing, in rhythmic address, subtleties of balance, expressive delicacy, and suave turning of phrase, was altogether delightful. There was a rare polish in the work of these artists. It was a wonderful evening’s entertainment and further proof of the outstanding contribution which the Chamber Music Federation in collaboration with the N.Z.8.5., is making to the New Zealand community. The first part of the programme was easy to assimilate. It began with a Cassation for Wind Instruments by Vojtech Jirovec. This was a merry little work offering plenty of variety and giving opportunity to hear the attractive blending of the tones of the instruments. This was followed by a Quartet in E flat by Karel Stamitz, and a Divertimento by Joseph Haydn. Both sang merrily in sunny fashion and were works of elegance ''and charm, with both [qualities being brought out fully in the playing. Modern works made up the 1 second half of the programme and

offered wider exploration of tone and volume in most exciting fashion.

Three Short Pieces, by Jacques Ibert, were delightful. The first was an exhilarating work, full of wit and joy of life. Wide dynamic levels were used and some charming antiphonal effects, reminiscent of some French organ music, were heard. The second was very short but was a little gem. There was a pastoral character to it and most of it was made up of a duet between the flute and clarinet. The last piece had the atmosphere of the merry helter-skelter of the chase. A Divertimento for Wind Quintet by Viktor Kalabis wa’s particularly attractive. It began with a challenging figure which alternated with a beautifullyphrased shadowy section. It was an interesting study in expressive playing under perfectly balanced control. The second movement was an elfin dance with plenty of mischief in it. The third had a plaintive and questing character and was full of acid-drop dissonances. The last movement was bracing music as full of colour changes as sunrise in the mountains.

The last work was “A Little Chamber Music” for Wind Instruments Op. 24., by Paul Hindemith. Although a youthful work it had elegant craftsmanship. Passages played at high speed and with intricate harmonic complexity neverthless retained perfect clarity of texture. The first movement was a working out, in fugato style, of a quickly-moving and entrancing little melody. Everything was clear and the music bubbled forth. The second movement had mysterious shading, and the third was tender and meditative with lovely colour effects. The last movement had terrific rhythmic interest with garish harmonies which were interesting if not immediately appealing. This was certainly a concert to remember. —C.F.B.