National Orchestra Plays to Good Audience at Greymouth

Grey River Argus, 11 October 1949, Page 3

National Orchestra Plays to Good Audience at Greymouth

Many people, without being conscious of the fact, have a preference for music with a descriptive character while others favour tne absolute opure type of music, free of any colourng or programmatic devices. Last night’s performance of the National Symphony orchestra conducted by Anderen Tyrer, opened boidiy with the dramatic overture from one of Wagner’s great tone dramas, “The Flying Dutchman”, a piece in which the storm-like scenes alternate with passages of calm serenoty. Those of the audience who had never before seen or heard a fullscee symphony orchestra in action quickly realised that this was a vastly different experience from the more prevalent record performance. Little wonder, then, that the excitement ana interests were sustained throughout two hours of orchestral music unrelieved by any vocal or intrumentai interludes. Even in the most hysterical passages throughout the programme both conductor and players appeared to have some strength seffi in reserve

Nearest to the hearts of most classical music lovers was the “Water Music Suite” of Handel with all its pomp and glitter This was an excellent vehicle for the horn and the trumpet the most regal ,of all instruments, and their playing on this occasion was a “tour de force.’’Several minor faults of the playing of the woodwind section did little to mar their clarity. Passing to quite a different type of orchestration and tonality were given the lovely tranquil, “Walk to the Paradise Garden,” by Delius. Here the interest was less in the melodic and. rythmic content of the piece than in its texture. The process of imitation was maintained between the various sections. The sustained string playing was its crowning glory. This was felt to be Mr Andersen Tyrer’s supreme achievement for the vening from the stand and point of the conductors’ technique. This work has not such an immediate appeal as that which followed it on tne programme. The “Welsh Rhapsody,” by another English composer of recent times Edward German. The well-known Welsh tunes, which this rhapsody comprise, were wreathed in strange and delicious harmonies, treated contrapuntally at times, and given some thematic development and were played with gusto and strength, providing a dazzling finish to the first portion of the programme. The major work of the concert, the “Fourth Symphony,” by Dvorak, .opened in a sombre and deliberate mood that gave no hint of the fire and animation that were soon to overtake it. A monumental work such ,as this can only be performed even indifferently, by a well-disciplined force of players. It may be said that no music is good unless it is also both well presented and properly listened to under good accoustic conditions. The performance of the symphony was inspired and completely satisfying, to say the least. To some people the development section of a first movement is apt to appear somewhat of a tangle, and a prolonged slow movement an ordeal This was not the impression of last night’s audience. The weaving in and out of many parts in the first movement was enhanced by its strong rhythmic purpose. The terrific contrasts, the most delicate whispers, and all the subtle gradations in between, made it, in effect, a symphony on its own. The striking part-playing and constantly changing orchestra colouring through the waltz-like third movement and the finale, with the absense of unnecessary' showmanship and distractions on the part of the conductor, made this fortv-minutc long work an experience rather than an entertainment for every membi of the audience.