The Week's Music...

New Zealand Listener, Volume 35, Issue 888, 10 August 1956, Page 20

The Week's Music...

by

SEBASTIAN

‘THE National Orchestra is on tour with its subscription concerts, and Sir Bernard Heinze as guest conductor, and we have heard some good music from the combination (YC stations). Sir Bernard’s conducting style is very neat indeed, his rhythms forceful, and he treats tempo in a manner quite free but always controlled. The players responded well, and the result was even more assured by the programmes which contained no really modernistic works but a well-planned attraction of opposites. Most charming of the pieces was the little Symphony K.200 of Mozart, which for its naive delight should be heard more. often: a decimated orchestra played*it with grace, and an incredible unity in the breathless finale. On the other hand, César’ Franck’s lovable symphony received the "full treatment," and its high points were noble and broadly painted. There was some lovely cor anglais work, though occasional members of the wind section were unfortunate in their solo work. For the most part, however, there were no acci-dents-which will happen even in the best-regulated orchestras-and the wild rejoicing of the finale’s close was triumphantly successful. This, one of the most romantic of romantic works, seemed to suit the players’ present tem-

perament: I can’t think of a symphony which is so deservedly popular. At least as popular is Tchaikovski’s Sixth Symphony, possibly because of its wealth of attractive tunes, too many of which we know with sentimental words grafted on to them-a graft which unfortunately takes rather well. As a symphony it makes a good patchwork quilt, its gaudy sections sewn together neatly, the most brilliant pieces being displayed with appropriate prominence. The wonderful orchestration-"‘opulent" is an overworked word, but will sufficewas successful in full measure in this performance, and, in fact; I think the only faults in it were attributable directly to Tchaikovski. The other recent major work was Schumann’s Piano Concerto, nicely enough managed by David Galbraith. I always feel the orchestral soloist should be co-starred here, since without their best efforts the pianist will find himself participating in a resounding flop. I was happy to find that no fatalities of this nature occurred, and the concerto was carefree if not faultless. After all this, the gem of this particular Pprogramme was the little movement in Haydn’s Serenade in D, almost sung rather than played, with great finesse and delicacy. The miniatures are always successful-I don’t: pretend to know why.