C.S.O.’s Beethoven

Press, 25 February 1985, Page 4

C.S.O.’s Beethoven

Christchurch Symphony Orchestra, conducted by John Curro in the fourth concert of the 1984-85 Subscription Series, at the Town Hall Auditorium, February 23, 8 p.m. Reviewed by Philip Norman. A sizzling performance of Beethoven’s Violin Concerto by the soloist, Nelli Shkolnikova, helped lift Saturday evening’s all-Beethoven concert by the Christchurch Symphony Orchestra out of the ordinary. She played with vibrant tone and flawless execution, and her reading of the work was a commanding one, notable for its strength of sound and intensity of mood. The brooding power of the first movement was admirably captured, and given spacious treatment. From the soaring first entry of the violin to the dazzling, virtuosic cadenza (courtesy of Fritz Kreisler) the solo line maintained an energy that was electrifying.

The set of variations which comprise the second movement were given

tender, caring treatment, and a magical mood was evoked. The orchestra, at this point, contributed some of its best-behaved sounds of the evening, particularly the stately melody of the third variation, delivered with warmth and precision. The third movement was perhaps the least successful of the three, the orchestra rather ponderously articulating the triple-time rhythms. Nevertheless, there was more than ample sparkle in Nelli Shkolnikova’s bowing arm to shape a delightful and sprightly close for this memorable performance of the concerto. “Leonora No. 2,” Beethoven’s second of four overtures written for his opera, “Fidelio,” made for a pleasant opening to the concert. An excellent off-stage trumpet solo by Vere Smyth and a rousing close were high points of the performance. With the exceptions of a well brewed storm sequence in the fourth movement and an acceptably polite

thanksgiving scene in the fifth, the “Pastoral” symphony (Symphony No. 6) was afforded a generally lacklustre treatment. Entrances were often tentative, rhythms tended to limp, and colourings remained dull. Woodwind intonation, not at its best throughout the concert, seemed to reach a low ebb. On the positive side, the work did illustrate the rising strength of the violin sections, and drew forth some healthy sounds from the cellos. A notably clean performance was given by the timpanist, Duncan Catanach. Saturday evening’s concert marked the first formal appearance of John Curro as principal guest conductor of the orchestra. While his first performance in this new role was not altogether auspicious, it is early days yet. There is nothing like time to cement a fruitful working relationship between conductor and orchestra. One wishes him well.