Orchestra Beat Train

Press, Volume CVI, Issue 31237, 8 December 1966, Page 22

Orchestra Beat Train

There was a more hearteningly large audience in Canterbury Court last evening for the second youth concert given by the N.Z.B.C. Orchestra under the direction of Juan Matteucci.

The programme began with Wagner’s “Flying Dutchman” Overture, the vigorous opening sounds of which filled the hall robustly. A passing train tried to merge its whistle with the soft woodwind, but needed a little more experience be fore it could be considered completely successful. Furthermore it belongs to a different union, and should not have intruded. The timbres of the orchestra were bright clear, and of good quality, blending into rich ensembles and providing dramatic contrasts of individual colours as occasion demanded. The climax of the storm had ringing brilliance and the playing had dramatic fire.

There followed a somewhat unusual interpretation of Bartok’s Divertimento for Strings The five solo instruments come through with clear and well-carrying tone and the balance of the orchestra’s strings, now that they have been brought to reasonable strength of numbers, can create subtly varying ensembles of arrestingly thrilling tone.

The work needed, among other things, a more intimate atmosphere than could be

given in the large building. It did not need the intrusive pedal effects provided by an aeroplane which seemed to circle above the hall on training manouevres gfor quite a time. However, this illustrated the fact th|t practically anything goes suer a . pedal note. Tchaikovsky.’* .“Romeo and Juliet” Overture, often played

here at proms concerts completed the first half of the programme. As the programme was far too long some pruning of the first part might have been considered. However, the work was played impressively, with vitality and with stirring sonorities showing appreciation of the timbres and intensities required. With Emily Mair, soprano, George Metcalfe, tenor, and Grant Dixon, baritone, and the Royal Christchurch Musical Society the orchestra gave a thrilling performance of Carl Orff’s “Carmina Burana.” The choir, though rather distant, came through with fine clarity and sang with excellent tone and rhythmic flow. The choral writing had a starkness, somewhat reminiscent in atmosphere of modal church music or carols—although the members of the Congregation of Rites might raise quizzical eyebrows if asked to approve the words. Be that as it may —and who can tell what can happen in these strange days —the Latin words of these medieval songs of love and drinking had a delightfully concise crispness of expression. As for their content, as Miss Anna Russell has pointed out in another context, you can get away with anything provided that you sing it The composer has set the text with astonishing insight for colourful highlights, syllabic flow, and for humorous and dynamically dramatic atmosphere. The choir responded with first class rhythmic grip, beauty of tone and supple expression. Mr FieldDodgson had trained the members so that they had confident technical mastery and a thorough understanding of the high spirits of the work which came through with unqualified success at all times. The w#ds of the

poems in German were not easy to hear. The orchestra played with resounding eclat and with dramatic and fiery force. They gave a thrillingly vital performance which gave mounting excitement The balance seemed thoroughly satisfactory. The soloists made an excellent team and adapted their wide tonal resources to all the changing moods of the work with experienced enlightenment

It is no reflection on any of the performers to say that the work palled somewhat towards the end. Perhaps it would not have done so if the programme as a whole had been shorter.—C.F.B.