Orchestral concert by father and son

Press, 4 May 1981, Page 6

Orchestral concert by father and son

Christchurch Symphony Orchestra, Guest Conductor Vanco Cavdarski with soloist Igor Cavdarski, Town Hall Auditorium. Reviewed by Margaret Buchanan. r

This would have been for Christchurch, one of the last opportunities to see Mr Cavdarski conducting this orchestra before he takes up his new post as Musical Director of the Belgrade Philharmonic, in Yugoslavia. A colourful overture, "Santiago de Espada” (St James of the Sword) from the contemporary Australian composer, Malcolm Williamson, opened a, ...popular programme. The-work possessed a flavour of. a .television or film themd. and had a slower middle . section which featured a soaring melody played beautifully by the upper strings. It is good to see a lighter, modern work included in the programme. Igor Cavdarski, aged 19, son of the conductor and at present a full-time student at the Queensland Conservatorium of Music, was soloist in the Tchaikovsky No. 1 in B flat minor. This concerto,

said Rubenstein, “is a piece of genius for the piano . . . used too much as a warhorse for pianists who are only set on pulling off the octaves at tremendous pace.”

Cavdarski, as a young, but experienced soloist, played confidently, and competently without incurring too many battle scars.

As in Dvorak’s Cello Concerto, one enjoys many of Tchaikovsky’s familiar tunes played by various orchestral solos as well as by the piano. The flute and cello, for example, were particularly outstanding. , Igor Cavdarski performed with muscular rather than musical control in the weighty first movement, which elicited spontaneous applause at its dramatic t close. Throughout, Vanco Cavdarski conducted with masterley direction of the diverse tempi, and a liberal dash of panache. A thrilling rendition of the Finale ensured an extended and enthusiastic applause from the large audience. tike the Tchaikovsky, Dvo-

rak’s 9th Symphony “From the New World,” enjoys enormous popularity. Once again, the mriad melodies, although so familiar, are much loved. If the let movement succeeded in sounding relatively secure and well rehearsed, the 2nd movement, “Largo,” did not. Here, the woodwind have St demands made upon >, and (unlike their efforts in the Tchaikovsky and Williamson) they shared Kroblems with some poor donation and lack of cohesion. Familiarity with the work is a prerequisite, not just for the conductor, but the whole body of players, especially percussion and the like, who have long gaps between playing. The Scherzo was better controlled and less edgy, with some handsome sounds from the brass. Strong, vigorous playing from the strings brought the Finale to an exhilarating climax, ably led by Pauline Smith, Chris Broderick and the C.S.O. Management Committee must feel very heartened by the excellent increase in subscribers this season.