N.Z.S.O. and choir

Press, 27 July 1989, Page 6

N.Z.S.O. and choir

New Zealand Symphony Orchestra conducted by Gyorgy Lehel at the Town Hall Auditorium, July 26, 8 p.m. Reviewed by Philip Norman.

“Your teeth are like a flock of ewes just shorn, come up fresh from the dipping ... Your two breasts are like two fawns, twin fawns of a gazelle.” I had no idea that the Bible housed imagery of such colour and directness.

Neither did the composer, Edwin Carr, it seems, at least not until the early 1970 s when the Dunedin-based actress, Louise Petherbridge, drew the passages to his attention. A dozen years on, Carr composed his hour-long setting of the “Song of Solomon.” A further three years on, last evening, the work was given its premiere, indeed its only scheduled performance, by the New Zealand Symphony Orchestra. The Royal Christchurch Musical Society, Margaret Findlay (mezzo-soprano), Grant Dickson (baritone) and, appropriately, Louise Petherbridge (speaker). I hope the score, as with so many New Zealand compositions, does not.gather mildew in the composer’s wardrobe after this successful first airing. The writing is too colourful and too well-crafted to deserve such a fate.

In many places, the orchestration matched that of Ravel for richness and diversity of timbre. (Ravel was considered a master orchestrator and it was his Piano Concerto in G that opened the programme.) The sensuality of the text was beautifully enhanced by lush, swirling textures.

Hints of exoticism conjured a Middle Eastern ambience, yet the discretion with which such gestures were applied ensured the sentiments of the lyrics were not tied to a specific region. The real strength of the symphonic cantata, though, lies in the choral writing, and in this respect, Carr was fortunate to have the services of the Royal Christchurch Musical Society. There were a few shaky entries, but these were quickly forgotten in the face of the general beauty of the choral sound.

The composer seemed to reserve his finest harmonies and sweetest melodies for the choir. To my ear, the work could have benefited from further such choruses, preferably of an extended nature.

These could well replace some of the quasi-recitative passages allocated the soloists. While Findlay and Dickson coped admirably with their chromatic and often angular lines, their material rarely lifted one’s spirits to the level achieved by the ensemble.

Petherbridge spoke clearly and with good expression. At first I was uncertain as to why Carr chose to employ a speaker; with hindsight it is easy to appreciate that this role both added welcome contrast and cast pivotal passages in sharp relief. For reasons suggested above, it was an intelligent programming decision to pair “Solomon” with Ravel’s G major concerto. It was a pleasure to bask concert long in the rosy glow of vibrant harmonies and resonant orchestrations.