Pleasing orchestral fare

Press, 16 August 1976, Page 4

Pleasing orchestral fare

The Christchurch Symphony Orchestra, conducted by Peter Zwartz and led by Paulene Smith, presented another interestingly chosen programme which was received with enthusiasm by a large audience in the James Hay Theatre on Saturday evening. In accordance with the plan for the present series of concerts, the programme consisted of a Bach Orchestral Suite, No 4 this time, the sixth Brandenburg Concerto, Mozart’s Piano Concerto in A major, and a modern work — Milhaud’s “La Creation du Monde.” There was a little momentary unsteadiness at the beginning of the Bach Suite No. 4 in D, but the following fugal section of the Overture had jolly spirit with a lively spiky feeling caused by repeated chords. The Minuet, and Gavotte

had suavity and disciplined order, and much brilliance in the last movement.

lola Shelley was the soloist with the orchestra in Mozart’s Piano Concerto in A major, K. 488. She played with most appealing grace of phrasing and in stylish use of colour and of expression, keeping the piano part to the fore, as it should be in a concerto performance, but always giving opportunity for the orchestra to hold its proper position in all details of interpretation demanded of it. Peter Zwartz, conducting with seasoned skill and insight, preserved balance with all forces. lola Shelley’s touch was firm and graceful in evoking fine singing of melodies and in the building of the kindly and gentle atmospheres which prevail in this composition. Even in softest work her tone Had singing quality and the joyous exu-

berance of the finale shed a radiance of good companionship throughout the theatre. She made further contribution to the programme by playing the harpsichord part in the Brandenburg No 6 and the piano part in the Milhaud work.

The Brandenburg No 6 was played by three cellists, a double bass, two violas and the harpsichord. There was rhythmic life and vitality of phrasing. While there was slight disparity in the tonal quality of some of the instrumental parts at times, there was refreshing clarity of part-playing and good shaping of the phrasing. Elizabeth Rogers’s loveliness of tone was a memorable feature of the performance, and a concerto performance by her would be appreciated. Milhaud’s “La Creation du Monde” followed the Bach

isuprisingly well. This was brilliantly played and the [performance was held together remarkably well by Peter Zwartz’s careful, clear, and dynamic directing of the soio instruments which made up the performing group. He kept the texture of the music beautifully clear and gave life of movement and subtle use of nuance. The percussion work is of first importance and was beautifully played by Norman Gadd. Each instrument made characteristic contribution to the whole, and gave telling effect in solo capacity. Peter Zwartz chose excellent tempi throughout the evening and gave the players confident and helpful leadership in every way. Stuart Buchanan played the saxophone with good effect in the last work. — C. Foster Browne