Orchestra Gives Of Its Best

Press, Volume CV, Issue 31029, 7 April 1966, Page 18

Orchestra Gives Of Its Best

Mr Franz-Paul Decker again inspired the members of the N.Z.B.C. Orchestra to give of their very best in the concert in the Civic Theatre last evening.

A thoroughly enjoyable programme began with Brahms’s Variations on the St. Antoni Chorale, a work which sustains noble dignity throughout its course. Added richness in ensemble was given by the enlarged number of string players: great bursts of tone came with full but unstrained effect and soft oassages kept a sheen with promise of plenty of power in reserve. From martial panonly to pastoral lyricism Mr Decker drew vital sounds, balanced at all levels of changing expression. The effect of a large orchestra nlaying pianissimo is always thrilling, and Mr Decker insists on the wispiest sounds when the music needs them. His crescendi- come like sunlight flooding a room when heavy curtains are unfolded The characteristic quality of each variation was expressed with the surest touch and understanding in an interpretation which blended romanticism. formal design, and humour. Mr Louis Kentner was the soloist in Mozart’s Piano Concerto No. 23 in A. If his nlaying fell short of perfection it would be hard to say where it did so. It was fascinatingly beautiful. The orchestral opening was delightfully smooth with the melodic patterns standing out clearly. Mr Kentner entered with rustling delicacy and his playing had a rippling gleam with every sound clearly articulated, and every one a pearl. It was perfectly relaxed playing proceeding from magnificent command of the keyboard. The second movement was superbly beautiful with amazing qualities of tone in the nuances Mr Kentner created in his expressive phrasing. There was a magical atmosphere of tender consolation and remembrance. The final movement was announced by the pianist in scintillating cascades of sounds and there was a mood of carefree happiness prevailing through its ’ovely course. It would be hard to imagine more splendid accord between a soloist

and conductor than was shown in the performance. Under Mr Decker’s guidance the small orchestra gave Mr Kentner full support and the interpretation had unfailing unity. The last item on the programme was Tchaikovski’s Symphony No. 4 in F minor and its performance will set a level of excellence here in the work of the orchestra for a long time to come. With skilful use of wide levels of expression, and with careful balance of tonal colours between various families of the orchestra, Mr Decker brought out the tensions of the first movement with gripping atmosphere. The lyrical contrasting section in the middle of the movement was played with attractive and polished delicacy. This was followed by a tearing crescendo building up to frenzied intensity. But at all points Mr Decker held both players and audience completely under his spell. A mood of languid nostalgia was created and held right from the beginning of the second movement. Solo

effects were passed from instrument to instrument with airy grace, and the mezzoforte quality of the full orchestra had a rounded sonority with the extra weight of string players showing to great advantage. The movement had a lovely dying close.

The pizzicato opening of the third movement was splendidly played and was grand fun. The precision was first rate. The woodwind choir had the tang of fairground instruments and gave an air of bucolic merrymaking which carried over into the last movement which began in riotous helter-skelter that kept, however, strictly within the bounds of precise technique. Little bits of backchat between the woodwind and strings made delightful side effects, and as the work rose to its overwhelming climax one excitement was piled on the next with terrific eclat. This was a tremendous performance which richly deserved the furore of prolonged applause which was given it. —C.F.B.