Galliera Conducts N.Z.B.C. Symphony

Press, Volume CVI, Issue 31340, 10 April 1967, Page 14

Galliera Conducts N.Z.B.C. Symphony

The N.Z.B.C. Orchestra gave its first subscription concert of this season in the Civic Theatre on Saturday evening. The guest conductor was Alceo Galliera whose strong direction drew an attractively crisp rhythmic drive, splendid balance, a stirring power that was never oppressive, and tonal contrasts giving expressive detail from all the playing. Mr Galliera has a dignified style of conducting that makes all his requirements clearly known to the players and gives undisturbed confidence to the audience. The theatre was sold out, and the audience gave Mr Galliera and the members of the orchestra a prolonged and merited ovation at the end of the concert.

The programme began with the “Torch Dance and Romeo’s Ride” from s “Juliet and Romeo,” an opera by Zandonai, which has not found widely popular favour. The music, heard for the first time here, has terrific dramatic punch and, in the opera, could well have overpowering effect. There is something of the thematic banality and repetition which can escape some notice in a theatrical performance but may not rouse conviction entirely in a concert version. The ride section describes Romeo’s anguish during his headlong dash from Nantua to Verona after hearing of Juliet’s death. At least we must presume this is so, for one horse could hardly be expected to make all that noise. Mr Galliera whipped the orchestra into frenzied sounds but kept a clear balance. Even the very lavish use of the brass did not cause other parts of the orchestra to be obliterated and the excellent tone of the brass players deserves most favourable comment. Mr Galliera gave a heightened reading and served the composer well. Brevity was one of the work’s attractions. Mr Abbey Simon was the

soloist in Beethoven’s Piano Concerto No. 4 in G, a work of pastoral atmosphere, mellow and gracious in its shapely themes, warm-hearted in sentiment, dramatic in its climaxes but completely captivating in its prevailing lyricism. Mr Simon interpreted the work with outstanding skill. There was never a blurred sound nor one that failed to make its point or add to atmosphere. His runs were clear with each note having a pearly lustre. The very big sounds had a noble grandeur of tone and the wide gradations of timbre were artistically alive and thoroughly convincing. The soft sounds from the piano in the second movement were movingly beautiful and seemed to hang suspended in the air. The last movement had an effervescent - sparkle, and high spirits came from pianist and orchestra in the happiest accord. There was one disturbing matter in the performance of the concerto that requires comment. Somebody—suspicion runs high, but let’s leave it anonymous—was making strange humming sounds giving effects unthought of by Beethoven and unlikely to have had his approval. For the moment all that needs to be said is that whoever did it, shouldn’t have; and if there must be a vocal recital, let it be on another evening. The programmes ended with the Second Symphony in D major by Brahms in which the excellent balance of the recently enlarged orchestra was fully appreciated. Very beautiful sonorities were heard from the various families of the orchestra, frequently one answering another in antiphonal effects, and everything was so securely balanced without any forcing to cause distortion of tone. The strings in particular had a glowing sheen on their tone and benefit mostly by the extra players. Mr Galliera brought mature understanding to his interpretation of the work, giving u« a design of noble proportions clearly outlined, and fine exposition of detail. It was rich playing, delightfully polished. —C.F.B.