National Orchestra

Subscription Concert August 7

This concert was one of a subscription series undertaken by the National Orchestra but undoubtedly the real thing that drew the large crowd that packed the hall was the appearance of Abbey Simon as guest artist. Previously acclaimed as a truly great pianist, this was the first chance that Wellington audiences had had to hear him perform a work of the magnitude of the Brahms Concerto. However, the first half of the programme was taken up by the Mendelssohn and the Ravel which, although by no means "fill" items, could not hope to match the brilliance of the later performance of Brahms.

The Mendelssohn Italian Is a typically sweet work, and enjoyment of this depended almost entirely on one's taste in music. It was Mendelssohn played almost to perfection, with finesse and refinement but" retaining vigour and colour. To me, however, it seemed a rather laborious work lacking much that was either stimulating or even very interesting. It was Mendelssohn, played well, and there I think is contained all that is relevant to this particular work.

The Ravel, Rhapsodie Espagnole, was a complete contrast.

Modern in both construction and temperament, it certainly showed, if nothing else, the degree of control that Mr Hopkins has over the orchestra. The playing was obviously exact and disciplined. The work in itself did not inspire me at all. I am aware that on this point I differ with most people, and certainly with the rest of the audience, who applauded at great length in normal kiwi manner. To me it seemed rather like cacophany of sounds from a sound effect studio. Disjointed, disconnected and decidedly un-Spanish and un-pictorial. Still once again a matter of taste and certainly no one could quarrel with the performance of the National Orchestra.

The second half of the programme was taken up with the Brahms concerto. This was the true climax of the concert and the audience was not disappointed. Most of those present would wonder that anyone could get around such a complex work, let alone leave room for a sensitive interpretation. This, however, is exactly what Abbey Simon managed to do, and do well. His technique was more than adequate to the work. Every note could be heard in its individual context, whilst the unity of the whole was still maintained. The difficult repartee between orchestra and piano were admirably handled and one felt that there was good co-ordination between soloist and conductor.

Really there is little more that can be said of a performance such as this. It was certainly a first-rate performance and a great musical experience. My only comment would be on the orchestra. This, I think, was a little outclassed by the magnitude of the Brahms and I had the feeling that Mr Hopkins had to sacrifice a few of his earlier demands to get the orchestra through the more difficult passages. Incidentally, congratulations to the French horn player. Admittedly a very difficult instrument to play, he seems in the past to have spoiled many good performances with rather jumbled passages. In this concert nearly every passage was fine and clear and the horn passages were as significant as they were intended to be.

Congratulations to the National Orchestra and a standing ovation to Abbey Simon on outstanding performances by both.

—M.G.