The Week's Music...

New Zealand Listener, Volume 36, Issue 930, 7 June 1957, Page 20

The Week's Music...

by

SEBASTIAN

ONCERTI for more than one solo instrument present special problems for the composer, since he has to take account of contrasts between his solo‘ists as well as with the supporting _orchestra. One would think it foolhardy for instance to employ a trumpet and a flute-yet Bach managed very well with these. At the other end of the scale, one might be surprised to find orchestra and soloists all composed of string instruments; but Vivaldi wrote concerti like this, and so in our present era does the Swiss composer Frank Martin, whose Petite Symphonie Concértante we heard from the National Orchestra (YC link). In this the "string" soloists are harpsichord, harp and piano, all of which have something of a percussive effect, and therefore some tonal similarity; but for the most part the forces are deployed so as to make use of all the contrast possible, in much the same way as small differences in shades of colours are best seen separately. This work opens with a slow section rather like a chaconne in feeling, and this gives way to a rapid movement in which the piano is_ chiefly exploited, since it is the most brilliant of the instruments here, a Brummel among the beaux. The slow movement, with its

little persistent drooping figure, uses the old method, of opening the music with the soloists alone; here the differences ate heard to the full-the ripple of the harp, ring of the harpsichord and piano’s singing, discoursing most eloquent music. Finally, all enter with gusto into a march-like movement, with a good cheer that is not conspicuous in the first part of the work. In this performance the soloists (Gwyneth Brown, Leslie Comer and David Galbraith) managed their difficult parts with complete success, and between them painted attractive moods. One often had to listen for the softer-toned: instruments, since the piano naturally stood out, but over all the experiment-for we must regard it as such-was well worth while. It’s a pity in some ways that there are so few modetn harpsichord works, because the instrument’s possibilities are by no means exhausted. The remainder of this programme was taken up with the Scapino Overture of Walton, played rousingly like the good entertainment it is, and a particularly beautiful rendering of the Prelude and Liebestod from Tristan. The Orchestra and its conductor seem to be in very good form at present.