C.S.O.’s Continuum

Press, 19 December 1985, Page 6

C.S.O.’s Continuum

Continuum, presented by the Christchurch Symphony Orchestra at the Great Hall, December 18, 1.10 p.m. Reviewed by Philip Norman. Continuum, the recently formed contemporary music ensemble of the Christchurch Symphony Orchestra, gave its second recital at lunch time yesterday. As with its debut, the work of New Zealand composers comprised the bulk of the material presented. Douglas Lilburn’s Sonatina No. 2 (1962) for piano was given an intelfigent reading by Michael Lawrence, and a specially commissioned composition by a Christchurch composer, Tony Ryan, was given its premiere performance. }, Divertimento (for nine solo instruments)” was the title of this curious, but not unappealing, new work. The programme opened with an account of Webern’s Concerto, Op. 24, a complex, serial work that was later repeated, with increased conviction, by the ensemble. To Continuum’s credit, the inner movement in both performances set a comfortable, expressive atmosphere. The klangfarbenji mllodien (colour-melody"

aspect of the writing was neatly captured in what were well balanced and sensitive deliveries.

In writing of this ilk, the slightest misplacement of a note by an instrument can set off a chain reaction of stumbled articulation. Passages in the outer movements of both performances were affected in this manner, although recovery of momentum was usually speedy. In the many passages where rhythms were secure and the attack precise, a most striking, satisfying sound resulted. The piano-playing talents of Michael Lawrence ought to be employed by local organisations with greater frequency. On an instrument not known for its subtlety of tone, he gave a finely detailed, assured account of the Lilburn sonatina. The closing movement in particular received favourable treatment. The material for this, comprising recapitalutory snippets from the preceding two movements, is difficult to shape. In his spacious, well measured interpretation, Mr Lawrence succeeded in knitting these diverse elements into a continuous, cogent

strand of thought There is no doubt that Tony Ryan’s “Divertimento” provides a light-hearted romp through well trodden musical material. What is less certain is the composer’s intention in the score. Is it simply an attractively scored set of five pastiche pieces, or is it a work of musical satire, following in the grand tradition of Hoffnung? At first I was convinced it was the latter, a feeling that was reinforced by my rising mirth at the witty thematic allusions, the unending style parodies, and the deliberately heavy-handed orchestrations. Yet, the score was treated in such an earnest, straight-laced manner by the musicians that I began to have second thoughts — perhaps the composer’s tongue was not in his cheek at time of writing? It must have been, I concluded, and satisfied on this point was able to settle back to enjoy the joke, at Bizet’s expense, of the lively closing movement. A nagging doubt remained: was this really an appropriate piece for consideration by a contemporary music ensemble? F