Thrilling Concert By Orchestra

Press, Volume CIII, Issue 30593, 9 November 1964, Page 12

Thrilling Concert By Orchestra

The N.Z.B.C. Symphony Orchestra, conducted by Juan Matteucci, gave a thrilling and most satisfying concert in the Civic Theatre on Saturday evening. Mr Matteucci’s poetic and sensitive feeling, his technical control of balanced and highly expressive orchestra colouring and atmosphere, were alike shown in the performance of Respighi’s “Fountains of Rome” with which the programme began. This haunting work opened with the gentlest shimmering of strings against which plaintive wood-wind seemed gradually to bring the sun’s first rays over the cupolas and the tiled roofs to the warm ochrecoloured walls of the city in music of mystery and shadow. Slowly the fountains of Valle Guila emerged with gentle plashings before the bustle of the day began. That came, however, with sudden and insistent clangour as the sporting and junketings of the Triton fountain claimed attention and the pervading noise of Rome was upon us once more. The searing heat of the Roman summer could be felt at the approach to the Fountain of Trevi; and in the music, as in actual sight, this fountain, which is so familiar, again came as an unfailing surprise. The music rose to powerful climax against constant rumble of life around it. Then, as daylight faded, the slender lines of the Villa Medici fountain were depicted in descending glissandi from the harp against the strings and woodwind, and night came caressingly once more while the tone of a distant bell spoke of blessing to the city and to the world. It was a lovely rendering imbued with delicate sensibility and calling forth many memories. Mr Maurice Clare then made a most welcome reappearance among us to play the Mozart Violin Concerto No. 5 in A with a small chamber group, drawn from the members of the orchestra, which played with grace, sensitivity, and expert cohesion in beautiful ensemble of elegant richness. Mr Clare’s well-remembered tone of silken smoothness gained the necessary soloist prominence through clever use of con-

trasting timbres. Hearing his special tonal qualities again made it seem as though he had never left us. The first movement was music of headlong exuberant chase executed with immaculate neatness. Peaceful and joyous meditation flowed out in the second movement with finely turned phrasing and vibrant warmth. The third movement began with happy lilt giving lighthearted gaiety expressed first in linear attraction of the dance and then in more martial strains, with both shining and glinting so merrily. The playing of both the soloist and of the orchestra had excellently flexible control. Mr Matteucci's interpretation of the Brahms Symphony No. 4 in E minor will be remembered for its sustained intensity of emotion, its architectural profundity, and its nobility expressed in rich sonorities. The playing had a translucent quality throughout the whole performance, and the heroic spirit of the first movement pressed forward with commanding insistence in great sweeps of tone until it came to triumphant fulfilment at its close. Changing tonal qualities, in splendid balance at all levels of expression, came with poised judgment and appreciation of design. The luminous quality of the tonal texture was also strongly apparent in the foreboding second movement and Mr Matteucci never allowed the tension of mood to slacken for an instant. The scherzo made powerful effect with its taut utterance, and its ringing sounds of great power gave exhilaration and dynamic urgency. All these qualities were brought to crowning eminence in the great set of variations which end the symphony. Tragedy and triumph coalesced here inevitably and inexorably. Those terrifically powerful chords expressing heartwringing anguish will long ring in our memories, as will the balanced sense of completeness which Mr Matteucci brought to this magnificent performance. The orchestra will play here again on Wednesday evening.