C.S.O. Sunday Series

Press, 25 August 1986, Page 8

C.S.O. Sunday Series

The Christchurch Symphony Orchestra’s Ballantyne Sunday Series, with soloists Jan Tawroszewicz (violinconductor) and Maurice Till (piano), at the James Hay Theatre yesterday, at 2.45 p.m. Reviewed by Roger Flury. It looked, at first, as if this concert would be over in 50 minutes. The opening items by Vivaldi and Albinoni were dispatched before 3 p.m., leaving only the Mendelssohn concerto to come. However, the addition of two slow pieces by Walton saved the day, adding another 10 minutes to the concert.

As it happens, the Walton pieces, taken from his film score for Laurence Olivier’s production of “Henry the Fifth,” were particularly successful. The string players caught the essential Englishness of the music, with lovely sustained and muted tones.

Walton found an elegiac quality in “The Death of Falstaff” that no other composer has applied to that marvellous character. “Touch her soft lips and part,” which I assume ac-

companies the scenes between Henry and Katharine, had a gentle, lilting pastoral feel. The baroque items which opened the concert made curiously little impact. This was partly because there was no attempt at authentic style. There was no lightness, clarity or brilliance in the string tone, and the slower movements were given the romantic treatment. This music really needs to echo round the theatres, palazzos, and churches of Venice. In the James Hay Theatre it is killed stone dead. With the first solo violin entry of the Mendelssohn Concerto in D minor for violin, piano and strings, the concert suddenly came alive. Jan Tawroszewicz forsook the baton for the violin and sounded ' immediately in control. Here at last was some really energetic, committed playing. His tone was vital and even a little aggressive at times, but this is a young man’s score, and a little abandon is totally appropriate.

The usually solid and reliable Maurice Till sounded uncomfortable in

this fiendishly fussy piano part. There were a few moments of insecurity in the outer movements, and matters were not helped by the absence of a pagetumer. However, on the credit side was his remarkable ear for balance and co-ordination with the violin. Their work together was a joy to hear, especially in the lovely slow movement. Here too, the orchestra accompanied sensitively.

Elsewhere, there were times when a coductor’s baton was needed. Occasionally the piano was lost in the string texture, and ensemble was not always spot on.

Judging by the big .audience, there is obviously a need for these Sunday afternoon concerts. Their value would seem to lie in the opportunity to present unjustly neglected pieces, such as the Mendelssohn concerto, played by our finest soloists. However, more care needs to be given to programming if we are not to be left feeling slightly cheated.

No-one would disagree that quantity is less important than quality, but should we not aim for