Lack-lustre concert

Press, 10 May 1982, Page 6

Lack-lustre concert

Christchurch Symphony Orchestra, conducted 1 by Martin; Woolley, at the Town HalCriAuditorium, May. 8, 8 p.mri Reviewed by Philip Norpian. A mild and harm? less-!' programme submis-sively-presented to a halfempty. house . by' an oddlybalanced orchestra is not a scenario from Which memor-: able'concerts are made. , ? Saturday evening’s concert by *the Christchurch Symphony Orchestra was a disappointing “not with a banglbut a whimper” end to its Z* 1981-82 subscription series. It'-was the classic case of worthy musical organisation hamstrung through financial restrictions. Presumably it was.,economic rather than artistic reasons that led to the’Halancing of a maximum of seven first violins against four,; double-basses (what hopfe>for the violin melody?) and-'for the choice of works tha| clarinets and percussion and limited use of brass to one trumpet and one trombone (what hope for full orchestral colour?). One, and only one, benefi-

cial side-effect of the apparent shoe-string, budget was felt. Rather than out ; of-town big-name artists, it was good to see the orchestra’s. own musical director, Martin Woolley .conducting, as'well as a local pianist, Sharon Joy Vogan being featured as a soloist. The programme opened with the neo-classical “Pulcinella” ballet suite, by Stravinsky. This was not particularly well played and was often rather messy, particularly sections five and six, the latter of. which being based round a fiendishly difficult alberti-bass in the bassoon. The highlight was the vivo section with its gutsy dialogue between the trombone (Murray Griffiths) and solo double-bass (Dennis Vaughan). The second work of the evening was Mozart’s Piano Concerto No. 27 in B flat (K 595 politely and correctly played by Sharon Joy'Vogan. Although generally sluggish tempi denied Mozart his due sparkle, Miss Vogan’s performance of the work was laudable. She is undoubtedly

t ;a . promising young pianist with an enviable technique and a fine feeling for classical lines. The orchestra provided supportive and, discreet accompaniment. ' Mozart’s Symphony No.-40 ; in G minor (K 550 ;ended the programme. -’Usually, a crowd-drawing piece in whateverform .it appears, this symphony is indestructible. The orchestra chose to present Mozart’s original version (without clarinets and no hint of a rock band). In the final, allegro assai the audience was treated to glimpses of the latent energy and vitality in the orchestra's playing. The solid but lively sound of this movement compensated for the somewhat tentative beginning to the symphony. In all a lack-lustre concert, but not to be blamed wholly on the orchestra. In this city, that gains much mileage in terms of civic pride out of its “cultural” reputation, where is the whole-hearted patronage and support of such a cultural focal point as its own symphony orchestra?