Copland in concert

Press, 6 March 1978, Page 6

Copland in concert

By

C. FOSTER BROWNE

A large audience attended the opening concert of this year’s festival in the Town Hall on Saturday evening, and judging by applause enjoyed all that was offered. Those present will remember with pleasure the visit of Aaron Copland and his friendly and wise remarks about the attitudes of mind which people should bring to concert-going. These served as an opening to the festival and Dobbs Franks and a group of string and woodwind players began to play an Appalachian Spring, a work written by Mr Copland. This atmospheric and charmingly beautiful work had a prevailingly pastoral atmosphere, beautifully sensitive in expression, and in rounded dignity and fruitfulness told its simple tale of preparations for the pleasures of a country wedding. A dance form, tentative at first but burgeoning with lively melodies and rhythmic sparkle, created the sense of occasion, and the music ended in the lyrical peace in which it began. The players, led by Ruth Pearl, and directed from the piano by Dobbs Franks, gave a polished performance and set an engaging atmosphere for the whole concert. Gershwin’s Concerto in F. 1

with Earl Wild playing the; piano part, followed with; merrily exciting spirit and; with faithful bringing out of: its exuberance and elan. Mr; Wild, from whom we will hear much in this series of concerts, showed that he is a pianist of excellent technical accomplishment and of lively imagination. There was smoothness, command over a wide range of delightfully fresh and rippling playing, and plenty of power when demanded. We can look forward to most interesting and satisfying performances from him as the season rolls on. Trumpet and violin solo work from John Snelgrove and from Ruth Pearl were stylish and highly efficient features of the playing of the second movement,! against some mysterious; woodwind effects, and there! was marvellously vital play- ; ing in the finale. There were! times when the orchestra over-weighted the soloist, and excitement caused a! roughening in performance. l foreign to the players’ usual care. Heather Begg captured the hearts and imagination of! the audience with an electrifying performance of Seguidilla from Bizet’s Car-i men. She has a voice of; meltingly beautiful quality,] and dramatic fire and vivac-

■ | ity in abundance. In singing Jan operatic aria on the con-' J cert stage — usually a, ’difficult and unrewarding’ •I task — she showed an abil-' 11 ity to create the illusion ofi ’(the presence on the stage of! t'other characters, as Ruth Draper used to do with as- ' founding effect. Vocally she; ’has formidable powers of! , j creating colour, vivacity,! ‘(and expressive subtleties,; I and in commanding presence! ■ ■she has force and cajolery. 1 . The orchestra accompanied, i(with full sense of atmos-; iphere. ii The programme ended jwith Aaron Copland con-j Jducting the orchestra in his: • I Rodeo Suite an experience •I which all the players will; treasure. This music creates! “the character and atmos- , phere of the Wild West with N i astonishing vividness. The; >| excitement and devil-may-! I care swashbuckling of cow-j, si boys and cowgirls, the dust! :| swirling up as a steer, with] rider on his back, careers; ['forth from the enclosure, swearing out of the side of I;his mouth and hell-bent on; murder, the relaxation of the.’ ■’dance in the evening and the. ’] invigorating souare-dance in I ■ Hoe-Down, which brings the! jwork to riotous conclusion,! ■'brought the audience to its ’’feet in appreciation of the; (composer and of the music! lin heartening solidarity. '