Proms Series Begun By National Orchestra

Press, Volume CI, Issue 29766, 8 March 1962, Page 17

Proms Series Begun By National Orchestra

A series of four promenade concerts by the National Orchestra under Mr John Hopkins direction began last evening in the Civic Theatre.

The programme began with Haydn’s Symphony No. : 1 in D, and after mellow sounds in the introduction the first movement went merrily on its way with neat, precise, and beautifully balanced playing. The passing of themes from one section of the orchestra to another was done with artistic finesse, and there was always splendid clarity of line. The variations in the second movement were contrasted gracefully, and the melodies sang w’ith delicate and poised phrasing. The third movement, which foreshadows the Beethoven scherzi, had stirring cheerfulness and, in the middle section, some prettily contrived solo and duet work. The last movement bubbled over with joyous life and worked up to a thoroughly exciting climax. The playing of the' whole symphony was beautifully stylish—and completely rewarding to its hearers.

Mr Peter Cooper was the soloist in Mozart's Piano Concerto in G, K. 453, and it is pleasant to be able to welcome him back to Christchurch once again. Just a few of the orchestra made up the chamber orchestra for this work, and they played with lovely tonal qualities and with great flexibility of phrasing and expression. Mr Cooper produced a liquid clarity in the piano part, and his playing was shapely, beautifully controlled, and gracefully imaginative. There was consoling tenderness in the second movement, and sunshine through the leaves in the last movement Even at the softest levels, Mr Cooper’s playing has a captivating vitality.

Bright colours and .i, sterious undertones made de Falla's "Love, the Magician” an interesting work well suited to a prom concert. The

first part gives plenty of vigorous swirl, and the second is beautifully peaceful. The “Ritual Fire Dance” much more effective in orchestral form was played with heightened imagination. The many-changing moods and atmospheres of the whole work were all captured with skill, and everything came across clearly and convincingly. Miss Hannah Tatana sang the short solo passages with very good dramatic sense, and caught the apt atmosphere with skill, vitality, and conviction. The “Iberia” Suite by Albeniz ended the programme. Although it is an interesting work and was splendidly performed. there was perhaps a little too much of an underlying sameness of atmosphere with the previous work for the best programme effect. However, there is very great variety in this suite, and it certainly has many beauties. It is a better work than the other. A much larger body of strings would be needed to stand up to the battery of brass in the “Fete Dieu.” There was no doubt about the clarity of the picture conjured up by “Triana” nor of its ability to stir the blood of its hearers. The same can be said for “The Seaport,” which seems to give glimpses of the rolling gait of the sailors enjoying their leave ashore, the garish colours and even the inevitable untidiness of the wharves and sea-front, as well as the glistening of the water. The lights of evening and putting aside the cares of the day are suggested in the last movement, “El Albacin.” While there is a good deal of “a hot time in the old town tonight” atmosphere, there are also many contrasting sections suggesting loneliness and meditation.

Everything performed had the clear stamp of Mr Hopkins’s vivid imagination, disciplined direction, and great ability to draw a really musical response from his players in every phrase. It is grand to have him back again. Tile concerts will continue through this week. —C.F.B.