The Week's Music...

New Zealand Listener, Volume 39, Issue 989, 1 August 1958, Page 20

The Week's Music...

by

SEBASTIAN

= ‘THE last of the strolling violinists has left for the time being, this last being Maurice Wilk, leader of the Alma Trio, who has been giving solo recitals as well (NZBS) accompanied by Doris Sheppard. Like other recent visitors he has a good technique and wide tonal range, and to these merits added an interesting programme selection. The Sonata by Walter Piston cast a pleasant melodic sidelight on contemporary American thought, without the sprawling unnecessary dissonance that makes or mars so much string music from the U.S.A. A Sonata by Gail Kubik I thought was quite fun, and did not pretend to be an epic, which was all to the good; and the playing in both of these had a smooth perfectly modern efficiency, suited to their style. In the more ancient and serious field there was a solo Sonata of Geminiani which was rather heavy going though tuneful. The Bach solo Partita in D minor was fine until the culminating Chaconne (which we seem to have heard a number of times lately); here technical considerations appeared to preoccupy the player, leaving not enough room for planned working out dnd climactic treatment, though the final section was suitably fiery, All the same, I still prefer Mr Wilk

in his role as an important factor in the Alma Trio’s success: I have followed the Trio’s broadcasts, and appreciated them the more for their delayed recordings, especially as there has been such a large amount of touring music recently. One concert from the National Orchestra was heard and enjoyed (YC link) in which Mr Hopkins struck out on new paths--of repertoire, that is, for the music is not new. Berlioz’s overture "Beatrice and Benedict" is one of those colourful pieces of orchestral writing that support themselves on the grounds of imagination alone; its form is q little diffuse to follow easily, but it is never unpleasant and the continual reinforcement of freshness prevents tedium. So did the performance, which brought out every turn of rhythm and colour to the best effect. Then we had Mahler’s heavy-footed joy in his fourth Symphony, with Marie Robinson as soprano soloist, and a delightfully liquid tone it was, intensifying the emotion and binding the music together. The Orchestra sounded as though it were enjoying itself, and the whole performance seemed more coherent than the version heard two night previously in a studio concert; evidently a case of dress rehearsal to some advantage.