Symphony Orchestra

Press, 28 May 1984, Page 8

Symphony Orchestra

Christchurch Symphony Orchestra Sunday Series, first concert Conducted by Carl Pini; soloists William Waterhouse (bassoon), Paulette Smith and Carl Pini (violin). Presented at the Town Hall Auditorium on Sunday, May 27, at 3 p.m. Reviewed by Julie Klaassens. On a wintry Sunday afternoon, the idea of attending a light symphony orchestra concert featuring local and guest artists is inviting. Although the weather was atypically warm on this occasion, the crowds still arrived in great numbers and departed well entertained and happy. . The four concerts in this series are based on composed in the eighteenth century, with the occasional leap into the twentieth century. Each offers one or two concertos, a Haydn symphony and two other works. It was a pity that, for their opening copcert,the orchestra departed from tHs plan and presented > programme completely

based in the eighteenth century. By the end of the third work, brought to an enthralling peak by William Waterhouse’s performance of the Mozart Bassoon Concerto, the listener needed relief from classical style and sound. Inevitably, the final work, Haydn’s Symphony No. 22, fell on tired ears. For the intimate nature of this music, a small orchestra of 20 or less was ideal There was clarity and lightness throughout and individual instrumental colours cut through the texture without straining or overshadowing the other instruments. Even the harpsichord, often identified as a vague metallic edge in the performance, took its proper place as an equal participant The Mozart Divertimento (K. 136 was attacked boldly and offered a lively start to the concert Its first movement was taken at a cracking pace and the orchestra responded confidently, hold- ' ing together well to produce a crisp, firm tone.

This same determination characterised the outer movements of the Bach Concerto for Two Violins. This was too mechanical for some tastes though there was a sympathetic dialogue between the soloists in the beautiful slow movement.

The bassoon’s clowning days are numbered when one Ustens to WilUam Waterhc te in performance. From 1 instrument emerged ai unbelievably mellow, Uq d tone that at times sc ided closer to a French h m than to what is considers to be the bassoon sound. H performance of the Mozart Bassoon Concerto was magical — soft, eloquent, and spontaneous. ■Die inner movement was timeless, with phrases floating effortlessly from the instrument In the Uvely outer movements, runs were seamless and never treated as mere displays of technical skiU. Every note counted and was impeccably£Jace.