Second Symphony Concert

Press, Volume CX, Issue 32350, 16 July 1970, Page 14

Second Symphony Concert

Another N.Z.B.C. Symphony Orchestra subscription concert, was given in the Civie Theatre last evening. Alfred Wallenstein conducted, and Alex Lindsay led the orchestra with his customary stylish efficiency. The programme began with a spirited rendering of Haydn’s Symphony No. 93 in D major. The first movement had elegance and grace. Both of these qualities Mr Wallenstein drew from the players with fine discernment in his phrasing and grading of expression. There was subtle use of expression, enlivening each strand of the texture, and preserving complete clarity. This is not the most exciting of the Haydn symphonies but it has his humanity and broad outlook, as well as his dignity and humour. Benjamin Britten’s Concerto No. 1 in D for piano and orchestra, with Maureen Jones as soloist, was rousingly played, and was re-

ceived with hearty applause. Miss Jones had the necessary brilliance of touch, and made the wild leaps demanded through the compass of the keyboard with the grace and security of a young chamois on the mountainside. The opening movement, a toccata, had great’ eclat and was played with fiery brilliance and ecstatic spirit. Balance was good between the piano and the orchestra, although there seemed to be no holds barred between them. The waltz showed a dashing of interests between the piano and orchestra, with some almost gamin humour from the piano. The impromptu was a lovely movement, with high imagination and skill in applying harmonic and orchestral colour.

Miss Jones was a delightful pianist whose strength, suppleness, and sensitivity of touch were always a delight to her audience.

Schumann’s Symphony No. 3 in E flat is a gracious and

heart-warming work which can make instant appeal. The first movement was well knit together in its orchestration, which had sonorous fullness while remaining beautifully balanced and dear. The second movement had a relaxing, carefree flow and a charming oubof-doors atmosphere, with a graceful tossing of melodies to and fro. It sang eloquently of a country festival.

The slow movement had the nature of an old tale romantically told, while the following movement had the dignity of high ceremonial, with plenty of sonorous brass. The work ended in festive spirit, which never stepped outside the bounds of decorum. Mr Wallenstein was in complete charge of every phrase and nuance throughout an exacting programme. He seems to be a conductor who gives confidence to his audience, as well as to his players.— C.F.B.