Mixed Feelings After Orchestral Concert

Press, Volume CVI, Issue 31126, 1 August 1966, Page 12

Mixed Feelings After Orchestral Concert

Juan Matteucci made a welcome return to his podium as conductor of the N.Z.B.C. Symphony Orchestra at its concert in the Civic Theatre on Saturday evening. There was a full house for the concert, and the soloists for the evening were the Vienna Trio whose work was so impressive at their recent chamber music concert.

This concert left one with mixed feelings—those of disappointment prevailing. The first and second violins, in particular, had been seriously depleted by players being removed for the new small orchestra. Against the many ’cellos and double basses, the top string section had not much chance of keeping richness in balance, and in anything above mezzo-forte level the sound of the string orchestra had exaggerated bottom—like a woman wearing a bustle. Balance between the strings and the brass, and even against forte woodwind in the higher registers became lopsided, and we seemed to be right back where we were a few years ago. The

rounded richness of ensemble tone and the feeling of power in reserve in full-bodied playing, heard earlier in the year when Mr Matteucci’s additions to string players had made so great an improvement, was lost.

All this was particularly noticeable in the performance of the Brahms Symphony in C minor—by no means an undistinguished one, but deprived of the top brilliance in climaxes towards which Mr Matteucci’s insight undoubtedly was leading. These inevitably suffered from the impossibility of achieving that rounded balance mentioned above. A mountain range with all the peaks covered by cloud cannot have its beauty of landscape fully realised, even when the play of sunlight and shadow on the lower slopes stands out with bright clarity. The programme began, rather strangely, with “Variations for Orchestra” by Dallapiccola. This was a 12note row serial composition, interesting in its delicate orchestration at times, but hopeless in getting a concert away in a style which would set atmosphere for the evening. Most of the variations lasted only a few bars giving the impression that they died shortly after birth. It would be necessary to follow a written score to appreciate the ingenuity of their construction. There was some attractive use of percussion instruments played softly. The only advantage of having such a work at the beginning of the programme is that latecomers might think that the orchestra was still tuning up. Beethoven’s Triple Concerto is not a work of deep inspiration, but its autumnal nature was pleasingly brought out by the orchestra and the soloists. The playing of the Vienna Trio was competent and smooth, and the orchestra had good balance in this work because only a small orchestra was needed. There was an ingenious charm about the performance and it held attention without giving any notable thrills. The playing was received with warm acclamation. —C.F.B.