Attractive Proms Programme

Press, Volume CX, Issue 32213, 4 February 1970, Page 20

Attractive Proms Programme

Dr Clyde Roller again showed his versatility and musical command when directing the N.Z.B.C. Symphony Orchestra in the seo ond Proms concert in the Civic Theatre last evening Throughout the musically attractive programme the orchestra played with inter esting and smoothly-produced tonal colours ranging from the fiercely bright to the gentlest pastels, and the balance was always of importance to each player in the different families of the orchestra. The programme began with a pleasant performance of Suppe’s vivacious overture, “Beautiful Galatea,” played crisply, and with gently expressive feeling in its lyrical and romantic sections. It set a suitable atmosphere for the concert

The important work was Khachaturian’s violin concerto, with Ladislav Jasek as soloist The sparkling vitality of the first movement was brilliantly brought forth by Mr Jasek in tone of steely brightness and with cleat delineation of all the rhythmic figures. His tone was alive and dancing, and the cadenza was superbly played. The orchestra matched Mt Jasek’s imaginative expression and phrasing, and made the first movement a dramatic tour de force. The second movement began in sombre and solemn mood, and the soloist came quietly in eventually with a song of hope soaring confi-

dently. The vibrant clarity of Mr Jasek’s tone was a joy. This movement rose to savage fervour, but returned to quieter waters at the end. The last movement had the hilarity and brio of a coun-

t try fair and ended, after . many adventures, in a blaze • of fireworks. The soloist, the > conductor, and every member . of the orchestra deserved the ! ovation, given for one of the - best beginnings to a Proms

concert heard here for a long time. The last part of the concert began with Chabrier’s Rhapsody Espana, bright with gypsy melodies and rhythms evocative of swirling dances, southern sunlight, and brilliantly exciting colours. This was followed by an interesting little work by Charles Ives, “The Unanswered Question.” Against an undisturbed background of strings, an off-stage trumpet asked a question about the meaning of existence. The wood-wind group answered at first a little glibly, but the trumpet pointed out that that would not do. Thrown into confusion they answered with some asperity. The question then came again, hut could not be answered. The work was played with charming sensitivity. Aaron Copland’s ballet suite, “Rodeo,” ended the programme very excitingly. Everything one would expect to find in such a composition is indeed there in an abundance that calls for enjoyment rather than analysis. The second movement is a nocturne giving quiet contrast; but with daylight the rodeo gradually comes to life, and full activity comes with lots of fun for all. Some of the melodies in the last movement suggest that the Irish were there—and they probably were—even if only as policemen. The last concert will be given this evening. —C.F.B.