Israeli Orchestra Pleases Again

Press, Volume CVI, Issue 31162, 12 September 1966, Page 14

Israeli Orchestra Pleases Again

All seats for Saturday even-.j Ing’s concert of the Israel]* Philharmonic Orchestra had | j been sold days in advance and I 1 many people were disappoint- c ed that they could not be ad-‘i mitted. They can be offered!a naught for their comfort, be- t cause the concert was indeed a an occasion of great excite- I ment and musical satisfac-1 tion. v

The Roman Carnival Over-> ture by Berlioz, played as an! extra item at the beginning of the concert, gave opportunity for the orchestra to display virtuoso qualities of precise snap, expressive unanimity, and clarity in every melodic strand. The main business of the evening then began with Mr Zvi Zeitlin as soloist in Stravinsky’s Concerto in D for Violin and Orchestra. The Toccata had an astringent character of sound, thin and clear with a tang like a very dry wine. At first it appeared as though the balance be-, tween the orchestra and the soloist was unusual, but the ensuing inherent texture of the work soon explained this. The movement is a difficult one for the soloist, but Mr Zeitlin wound his way through with confident aplomb and artistic conviction. The first, aria had appealingly lyrical; nature although the sounds! were strong and steely in; timbre. Intriguing chords from woodwind and brass gave strangely coloured background. In the second aria the soloist played a beautifully ornamented melody against what was, for the most part, a muttering sound from the strings of the orchestra with occasional interpolated challenging dissonance from trumpet and woodwind. The movement ended with restrained conversation between the violin and two flutes. The capriecio was a glorious roulade from the soloist romping along in carefree but highly sophisticated fashion against what often appeared to be rather cheeky Interpolations from the orchestra. Mr Zeitlin produces splendidly carrying tone with immaculate intonation and wide range of rich expression. The work is difficult to put across but he did so with polished and confident technique. and compelled attention for the music apart from the player. In Stravinsky's “Firebird! Suite”—more familiar music] —subtle impressionism was I created with astonishing skill! in feeling for balance in; timbres and contrasting levels: of volume. Mr Antal Dorati, the conductor, drew from the.

players dulcet sounds in the introduction and in the “Dance of the Princesses.” Here, at delicate levels, the richness of a fully-manned orchestra could be realised in its playing with strength in all sections held in reserve but giving perfect tonal balance. The “infernal Dance of Kastchie” began with a shattering explosion and rose to violent frenzy, until the Fire-

bird brought sleep to the monstrous brood in the ravishingly beautiful Berceuse where the tang of the bassoon pervaded at the beginning. The work ended with immense force, but everything was played with meticulous attention to clarity. The programme ended with the Symphony No. 4 in E minor by Brahms. Here was superb richness of tonal quality applied to music of universal appeal, and the performance will live in the memories of all who heard it. It began with bright sheen from the strings, with pointed aceent but losing nothing in | smoothness: and the solid ; strength of this magnificent | body of players was there in perfect balance at all levels i throughout the work. The I woodwind and horns too had golden tone to offer in abundance. I Mr Dorati chose completely i satisfying tempi and gave us

i a performance of majestic dignity, lyrical sensibility, heart-warming emotion, and perfect technical precision. He conveyed authority in simple and natural ways, and his style of conducting does not reveal its magical secrets to the eyes of the audience. However, there is no doubt about what he gives and asks from his players and it would be very interesting to see, from the other side of the footlights, just how he conveys such a wealth of inspiration. The unison opening of the second movement and its continuation against pizzicato chords had a shining glory of tone and loveliness of shape and nuance. During this movement there was a glorious outpouring of stringtone the like of which has never been approached here. It had an enveloping and entrancing beauty. The scherzo began with bite to the tone and whip-lash snap in the rhythm. It continued with snlashing cascades of sound. | The wonderful passacaglia learned all before it with stupendous roll and Mr Dorati opened for us glitter;ing visions of design, ornaimentation, and nobility of proportion and contrast. —C.F.B.