Music

The New Zealand Win Quintet.

James Hopkinson	flute
Guy Henderson	oboe
Frank Gurr	clarinet
Peter Glen	horn
Peter Musson	bassoon

A group comprising principal players of the New Zealand National Orchestra recently provided in Wellington an example of how a well-trained ensemble should play; and of how effective chamber music can be, when played expertly. Formed in 1958, the New Zealand Wind Quintet has given several studio recitals yet, it unfortunately played little in the concert hall; and so it was a memorable occasion in more ways than one when flute, oboe, clarinet, horn and bassoon teamed together to give a programme of works ranging In magnitude from Mozart to Anton Reicha.

The former's Divertimento in B flat Op. 14 opened the concert, and really gave the audience indication, of marvellous group playing. Hindemith's Music for Five Wind Instruments also gave full measure of praise to composer and performers alike; Hindemith, who was once commissioned to reorganise the musical life of Turkey, has a strong vein of unorthodoxy running through his music, a combination of atonality with polyphony; and can be quite charming, as in the above piece. Willem Kapp's Lyric Suite was performed with masterful grace by the Quintet, not unsurprising as it was specially composed for them, John Hopkins bringing the music back from his recent overseas visit. Reicha's Wind Quintet No. 2 Op. 88 was also presented—with flute, oboe and clarinet all having extensive solo parts in the third movement, which were beautifully played. Indeed, one may surmise, if this concert was any indication of the standard one may generally expect, it is surely a shame so little is heard of the group.

"Theatre 60"

If you are a student of the drama, by enrolment or by sheer fascination, have you noticed the existence of "Theatre 60"? It commenced publication last year, to present a survey of the main events and the special problems of the theatre in New Zealand. How can we raise the standard of amateur productions, make the best use of the experienced people there are, promote New Zealand playwrights?

In the latest issue (Autumn, 1961) there is a discussion between the editor, John Dunmore (author of the radio play, "A New Candid"), and the producers, Patric Carey and Cedric Gardiner, on "The Producer in New Zealand." Anyone who is aiming to begin as a producer will find the results of their experience very useful, and to mere actors it is an interesting study of why things are done to them.

The Elizabethan Theatre Trust, the Australian equivalent of the New Zealand Players, is the subject of an article by F. R. Harvey. After seven years of existence, some of them brilliantly successful, the Australian and national theatre, too, is sinking into the financial doldrums, and the Trust theatre is in peril of death.

Bruce Mason fires a vivid broadside at the producer Ronald Barker, who had complained at the treatment one of his productions received from him.

(Mason says here that it was "of indescribable badness.") Mason, who is now leaving New Zealand, reiterates his creed that the critic can give only opinion, not judgment. He has no authority but his subjective experience of the work, and his honesty.

Surveys of reccnt opera, of the London theatre, of recent theatrical books, of radio plays and of recent productions in Wellington are other items in this number.

The next issue will contain an article on Victoria's own new Little Theatre.

We hope that the Drama Club will make use of the open invitation to contribute news of its doings to future issues.

Annual subscriptions (7/6 for three issues) should be sent to the Editor, Theaitre 60. 100 Broderlck St., Johnsonville, Wellington.