C. S.O., Town Hall

Press, 7 April 1987, Page 14

C. S.O., Town Hall

Christchurch Symplrony Orchestra, conducted by Max Mcßride, at the Town Hall Auditorium, April 4, 8 p.m. Reviewed by Philip Norman. Apart from the search for a redeeming feature in Richard Heuberger*s “Opera Ball Overture,” Saturday evening’s concert by the Christchurch Symphony Orchestra was a rewarding occasion. This fourth concert of the. orchestra’s twentyfifth anniversary season offered a compelling performance of Brahms* “Violin Concerto in D major” with the soloist, Jan Tawroszewicz, and a well-crafted account of Sibelius’ “Symphony No. 1 in E Minor." Much of the credit for the success of the venture must go to the conductor, Max Mcßride. This was his first appearance with the Christchurch Symphony Orchestra, yet, he appeared to have a welldeveloped rapport with the players. If his directions appeared a shade fussy at’ times, his fancy foot and baton work was justified

Z . ■ y. ■-•' -' • < ■ • by the clean sounds that resulted. In general, the playing remained confident and well-coloured. This was particularly the case in the reading of the Brahms concerto. Inspired by Tawroszewlcz’s immaculately drawn solo line, the- orchestra provided accompanimental support of a high quality. The first movement .was delivered with gripping intensity, capped by Tawroszewicz's sparkling cadenza and beautifully restrained entry at the coda. The warmth of his lyric sound was used to telling effect in the highly expressive inner movement. The movement’s main theme, in particular, was aired with impeccable timing and tone. The vigorous gypsyflavoured finale provided a fitting close to this memorable performance. Rhythms rollicked with unflagging momentum as the music swept, towards its rousing climactic passage. As well as some fine ensemble playing, the performance of the Sibelius symphony featured a

number of commendable <jolo and sectional contributions. From the opening clarinet solo by Keith Spragg, through richly- < toned string melodies in the Andahte, to powerhouse horn and brass work in the finale, the players remained in pleasing control of the challenging material. There were suspect passages to be sure, and the scherzo perhaps progressed with less buoyancy than one might have wished for, but over all it was an assured and polished performance that was offered. The outer movements, especially, were articulated with a satisfying sense of spaciousness. With two such meaty works comprising the bulk of thd programme, one could forgive the orchestra for its choice of overture. The ’’Opera Ball Overture” was little more than a clumsily wrought medley of long-forgotten tunes. It was treated by the orchestra in a spirited, if roughly shod, performance, with more respect than it deserved.