Symphony concert

Press, 28 July 1986, Page 6

Symphony concert

Christchurch Symphony Orchestra, conducted by Jan Tawroszewicz, in the Ballantyne Sunday Series at the James Hay Theatre, July 27, 2.45 p.m. Reviewed by Philip Norman.

Yesterday afternoon’s concert would not number among the most exciting given by the Christchurch Symphony Orchestra in recent times.

One half of the concert was given over to two rather ordinary early eighteenth century works. Although these were competently played with reasonable rhythmic and pitch security, neither presented any material of

sufficient Interest or invention to justify their inclusion on the programme. A question hovers over the authorship of both works. The innocuous Sinfonia No. 4 in B flat that opened the concert has been attributed to Albinoni. The somewhat bland Concerto Armonico No. 1 in G, presented as the thijjd item, has been

buted to Pergolesi. Benjamin Britten’s “Simple Symphony” at least presented a more challenging path than the predictable . courses of these two works. Unfortunately, the string orchestra, under the

sometimes ungainly beat patterns of Jan Tawroszewicz, did not rise to meet the challenge squarely. The “Boisterous

Bouree” contained more than an occasional passage of roughly shod rhythms. The momentum of the long “Sentimental Sarabande” all but ground to a halt during the many cadential stops and starts of the piece.

The "Playful Pizzicato” had its messy moments, but the precarious pace chosen at least brought a feeling of life and vitality to the playing. Some of the spirit of this movement was carried through to the “Frolicsome Finale,” which was delivered with good humour and reasonable finesse. • The highlight of the

concert was undoubtedly a performance of the familiar Violin Concerto No. 3 in G, K 216, by Mozart. In this, the con-ductor-soloist Jan Tawroszewicz showed clearly that his primary talent is that of violin playing. His impeccably crafted and sensitively coloured delivery of the solo violin line inspired the orchestra to produce some of its finest sounds. The first movement was vigorously paced, and articulated with clarity and precision. This, and the tenderly ascribed Adagio were capped by magical cadenzas from the solo violin.

A pleasing rhythmic bounce and some stylish phrasings drove the closing Rondo movement at an appealing, controlled pace. Jan Tawroszewicz provided a dazzling display of agility and technique during the solo-line folk-tune variations. The orchestra and violin maintained a well balanced sound throughout