The Nelson Symphony Orchestra. Saturday [May 19, 2007], Nelson School of Music. Conductor - David Lindup. Reviewed by Ben Winter.
The Nelson Symphony Orchestra delivered a magnificent programme of Russian and Finnish Music on Saturday night with verve and passion. It was clear that this orchestra was not only applying itself to the task at hand but also enjoying themselves at the same time. The rapport between the group and its conductor David Lindup made the performance something quite special.
The opening Overture to Glinka’s opera Ruslan and Lydmilla was a fast and furious start setting the standard for the rest of the evening and sending a thrill through the audience. Some measured and controlled playing in the Karelia Suite by Sibelius ensured that this joyous work was executed with power and poise. The Cor Anglais solo in the second movement was a particularly fine.
Tchaikovsky’s Second Symphony “The Little Russian” is a mighty and passionate work trough which the listener feels a whole range of the composer’s mood are shed within the fabric of the work like musical skins of raw emotions. The orchestra opened up this work like Pandora’s box in the first movement the mesmerised the listener through the march like andante of the second movement. The quick fire deliver of the third movement paved the way for a rousing ending in the fourth and final movement.
Visiting Nelson for the weekend, this concert was indeed the highlight of my stay. The city should be proud of its local orchestra as the standard of the NSO was without doubt on a par with the ensembles of my hometown of Auckland. Bravo to the Nelson Symphony Orchestra you are an asset to musical life in Nelson!
Source: The Nelson Mail, May 21, 2007
The Story of Peer Gynt, Nelson Symphony Orchestra in conjunction with Peta Spooner. Narrated by Kim Merry, conducted by David Lindup, costuming by Frances Rae. Saturday [March 31, 2007], Nelson School of Music. Review by Paula Cunniffe.
On Saturday, a cast of 14 young Nelsonians brought the Story of Peer Gynt to the stage in a wonderful marriage with the Nelson Symphony Orchestra. Local dance teacher Peta Spooner has every right to be proud of her ballet students, aged 13 and up and of varying experience. Three weeks of intense rehearsal saw 45 minutes of grace, skill and passionate effort culminate in a performance well supported and appreciated by the Nelson public.
I could have been listening to a studio recording of composer Edvard Grieg's Peer Gynt Suite, but it was our very own symphony orchestra bringing it to life in the flesh. Magic.
The terraced stage of the Nelson School of Music was a perfect way to show and separate the multiple narratives happening throughout, enabling the main characters to meander high and low with a spotlight against a backdrop of supporting dancers appropriately dressed. The costuming created by Frances Rae was a well-balanced mix of delicate to dramatic. The troll was amazing and after its exit I heard a young voice in the audience claim "that was scary, mummy".
Peer Gynt was originally written by Norwegian Henrik Ibsen and presented as a long dramatic poem in 1867. The artistic director of the Shakespeare Company, Michael Kahn, helped Ibsen pare it down and present it to the stage.
Nelson's tame version left many parts of the original story out and quite rightly so, for three fully packed family shows.
Peer's self-exploration quest originally encounters themes of reckless sexual abandon, resulting in a love child and unresolved marriages - pretty much a recurring theme to present day on the screen. For those unfamiliar with the tale, it's a combination of folk story, and existential and expressionistic drama of the psyche.
The young braggart Peer leaves behind his childhood sweetheart and escapes his hometown of mediocrity. Travelling the world, he encounters a succession of female tempters: the naive Ingrid, the entrapping Troll Princess, and the exotic and devious Anitra, before returning home to his beloved Solveig. I'm once again reminded of the range of creative talent we have in our city.
Sadly, there were only three back-to-back day performances on the Saturday.
Source: The Nelson Mail, Apr 2, 2007
Music flows in wonderful concert:
The Nelson Mail. [July 8, 2006] Nelson Symphony Orchestra, conducted by David Lindup. Nelson School of Music, Saturday. Reviewed by Michael Monti.
The standing ovation accorded soloist Diedre Irons at the conclusion of the Schumann Piano Concerto in A minor was a mark of a truly wonderful performance. From the bright, positive start of the first movement, both soloist and orchestra worked as one under the clear direction of conductor David Lindup.
The second movement, Intermezzo, was more gentle as the music ebbed and flowed; and then the third, Allegro Vivace, bright and energetic but well controlled, inspired the players to great results.
Ravel's Pavane for a Dead Princess, with its exposed entries, was possibly not the ideal choice to open the concert. The strings, led by David Pucher, had a well-rounded sound for this delicate piece.
Brahms wrote Variations on a Theme by Haydn, St Anthony Chorale, as an experimental return to composing for a full orchestra. There are eight variations which highlight different sections, building up to a stately finale. Each was handled with aplomb, by degrees dramatic and subtle, with variable tempi, the orchestra responding well to Lindup.
The orchestra should be very proud of its contribution to this year's Nelson School of Music Winter Festival.
Source: The Nelson Mail, Jul 10, 2006
Talented teenagers take a bow
Young Musicians' Concerto Concert, with the Nelson Symphony Orchestra under David Lindup. Nelson School of Music, Saturday [May 20, 2006] Reviewed by Michael Monti
Seven talented teenage musicians had their opportunity to play solo accompanied by the Nelson Symphony Orchestra on Saturday night. It wasn't a competition - although inevitably comparisons will be made. More, it was a chance to display their abilities before supportive family, friends and a wider music audience.
Paul Tarling (Nelson College) played the first movement from Grieg's popular Piano Concerto. This is a dramatic and complex section, but he nevertheless performed with confidence and technical fluency.
Sophia Tarrant Matthews, from Wellington, is barely a teen but looked poised playing the first movement of Haydn's Violin Concerto in G. While the mood of the music is lively, her playing displayed a rich tone.
Michaela Warner (Garin College) continued the Haydn theme with the second movement of the same concerto, a tranquil contrast to the first. Her playing was elegant and lyrical, soaring above the accompaniment.
Ribo Kamaya (Nelson College for Girls) had her proud parents from Japan in the audience. She played the second movement from Wieniawski's Violin Concerto No 2, displaying agile double-stopping and good tone over the entire range
Nathanael Dejong from Christchurch was very accomplished, playing Beethoven's Romance No 2, handling the contrasting sections with a maturity beyond his years.
Shohei Takagi (Nelson College) gave a polished performance of the challenging Kol Nidrei, a piece written for cello and orchestra by Max Bruch. He displayed great control playing this emotionally demanding music.
Tony Lin received a deserved standing ovation for his performance of the first movement of Beethoven's Piano Concerto No 3. This was a stunning performance and when the audience demanded an encore, the 17-year-old University of Canterbury student played an exhilarating adaptation from Prokofiev's Romeo and Juliet.
David Lindup was the link between the nervous soloists and the orchestra, which had the challenge of playing works as diverse as Haydn and Wieniawski with little time for stylistic change in between.
At the end of the concert, Richard Harris, a founder member of the Nelson Symphony Orchestra 40 years ago, spoke of his pleasure in seeing the strength of the orchestra, especially the strings. These included three of the young soloists, who played in their section before or after their performances.
The concept of giving talented young musicians the opportunity to play solo with an orchestra is an excellent one and all involved should take a collective bow for their input into such a great concert.
Source: The Nelson Mail, May 22, 2006, p2
Symphony orchestra a Nelson treasure
40 Years! Nelson Symphony Orchestra, conducted by David Lindup, Nelson School of Music, Saturday night [March 25, 2006] Reviewed by Gail Tresidder.
What a concert!
After a short delay as the lights went out to groans, and then on again to cheers, this very special night was sparked off with Weber's Overture to the Opera Preciosa. Until now this overture was unfamiliar to me. As played by the NSO, it has a bright and happy opening, and a little over seven minutes later, ends in a final crescendo of sweet strong sound. In between, the strings are light-hearted, the percussion section spirited, the woodwinds measured and in harmony. Quite delicious and the audience loved it.
It is always a treat to hear Elgar's Serenade for Strings. The orchestra played it beautifully, especially the slow, lyrical second movement which requires precision. A graceful, quintessentially English piece, written with such love for the countryside, it seemed a particularly suitable choice for our early Nelson autumn. Outside the School of Music the deciduous trees are changing colour and there is a fresh crispness to the night air.
The major work for this celebratory evening, Mendelssohn's Symphony No 3 - the Scottish - was written only five years before he died at the age of 38 of overwork and shock at the sudden death of his loved sister, Fanny. The music of a mature composer, it reflects the man himself. An acknowledged musical genius, Mendelssohn was also a gifted writer, painter and passionate lover of beauty.
His Symphony No 3 is fresh, poetic and melodic. It conjures up so well the Scottish landscape and wild wind, the blustery weather. Purple hills, open moors, the lochs, the songs of the people - it is all there in this evocative music.
The flowing andante, fast and lively vivace, slow and sweet adagio, culminating in the bright and fast allegro, is an elegiac symphonic poem and received due respect from a well-rehearsed orchestra. Special moments for me - the soft plucking of the cellos, passion from the timpani, lilting Scottish air from the wind instruments and the spirited conducting of David Lindup. Nothing matches a live performance, however fine the equipment.
The orchestra included new young faces and it was good to see many young people enjoying the performance. This guarantees another 40 years - at least.
I am sure many of the audience were as disappointed as I was that we did not hear from Lindup at the concert's conclusion. In Last Night of the Proms tradition, we would have liked to personally thank him, as the resident conductor on such an auspicious occasion, with a special cheer, a big round of applause.
A Nelson treasure, The Nelson Symphony Orchestra, up there with Tahunanui Beach - how lucky we are.
Source: The Nelson Mail, Mar 27, 2006
Orchestra superb with Irons
Nelson Symphony Orchestra, conductor David Lindup, with Diedre Irons, Nelson School of Music, Saturday [November 19, 2005]. Reviewed by Michael Monti.
There is no doubt that performers, in whatever endeavour, rise to the occasion. On Saturday night the Nelson Symphony Orchestra responded superbly to the very fine playing of pianist Diedre Irons in Beethoven's Piano Concerto No 1 in C.
From the opening there was expansive playing by both Irons and the orchestra. A lively first movement, complete with three complex cadenzas, was followed by an expressive largo. There was a tacit acknowledgement in the rondo third movement by both soloist and those string players we could see, of a delicate phrase, difficult movement, close harmony, that had gone well.
The orchestra, ably led by David Pucher, was well prepared by conductor David Lindup. The adrenalin of the second half was less obvious in the first for Mozart's Symphony No 41, the Jupiter. It was a sound rather than brilliant performance; often exciting, but with some moments of less-than-perfect intonation and ensemble.
The concerto performance led to prolonged and enthusiastic applause and we were rewarded with Irons playing the Scherzo from Beethoven's Sonata Op 2 No 3.
Orchestra management would have been pleased to see another full house, coming so soon after their previous concert; a reflection of the growing pride Nelson takes in the orchestra under David Lindup.
Source: The Nelson Mail, Nov 21, 2005
Haydn concert applauded
Nelson Civic Choir presents Haydn. At the Nelson School of Music on the eve of the 200th anniversary of the Battle of Trafalgar. [0ctober 19, 2005] Reviewed by Mike Monti.
As Pete Rainey said in Wednesday night's Nelson Mail: this was the only music (in these celebrations) that was around at the time of Lord Nelson. Haydn met Nelson in Vienna in 1800, and wrote a cantata for Lady Hamilton who was also travelling overland from Naples to England. How Haydn's Mass in G minor came to be known as the Nelson Mass is unknown.
"We represent the losers" said Chris Burcin, conductor of Polyhymnos, introducing four mostly unaccompanied French songs. All were sung exquisitely with the usual Polyhymnos style.
Ben Morrison, one year away from Burnside High School, soloist in Haydn's Violin Concerto in C, is a musician of enormous potential.
There was a sparkling virtuoso cadenza in the first movement, and in the slow second a pianissimo solo with pizzicato accompaniment. The finale was exhilirating with conductor David Lindup having fine control over both soloist and the excellent chamber orchestra.
Thunderous applause brought an encore: an exciting solo performance by Morrison of a Bach Sarabande in B minor.
The main work of the night was the Haydn Mass with soloists, Nelson Civic Choir, Polyhymnos and Nelson Symphony Orchestra conducted by Pete Rainey. The sound produced by the more than 100 voices was impressive and diction was excellent. Viktoria Dodoka, soprano, Lyndal Howley, contralto, Ewen Griffiths, tenor and Chris Burcin, bass, all excelled as soloists and in ensemble. The Kyrie at the beginning of the mass gave Dodoka opportunity to show her dramatic operatic voice, and I was impressed by Howley's solo in the Agnes Dei. Burcin was strong in the Qui Tollis, Griffiths had clarity of tone in his solo sections.
Rainey marshalled his forces admirably (Lord Nelson would have been proud of him) bringing in all elements with a clear confident conducting style, a reflection of the many hours of rehearsal.
Both orchestra and choir rose splendidly to the occasion, giving a truly memorable performance to celebrate this anniversary.
Following sustained applause for all the performers, Dodoka returned for a serene rendition of Mozart's Laudate Dominum.
A great concert for a packed house.
Source: The Nelson Mail, Oct 21, 2005
Houstoun shows class in exhilarating evening
Nelson School of Music Winter Festival Symphonic Master Works, Saturday night [July 16, 2005]. The Nelson Symphony Orchestra, conductor David Lindup and concert pianist Michael Houstoun. Reviewed by Gail Tresidder.
Outside the Nelson School of Music there was a sharp cold winter wind; inside a warm welcome for Michael Houstoun and his apparently effortless rendition of the Bach Keyboard Concerto in D Minor.
Houstoun makes playing very fast Bach seem as easy as falling off a log. Sitting calmly at the piano, every single note crisp and clear, he swept us along through the first movement. With Houstoun totally in charge of his instrument and skilfully accompanied by the tender strings of the orchestra, the elegiac second movement was drop-dead beautiful.
A quick glance around me showed rapt faces, an entranced audience. A joyous allegro, strings full tilt, ended the concerto. Bravo Houstoun and bravo David Lindup and the orchestra. Stamping, whistling and vigorous clapping were a well-deserved response from the delighted full house.
The Serenade for Wind in E Flat, composed by 18-year-old Richard Strauss, is very much a young man's work and an ideal piece to show off the current strength of the orchestra's wind section.
As a mature composer, Strauss went on to write wonderful music, my particular favourite being Der Rosenkavalier. Of himself, he said modestly, "I may not be a first-rate composer, but I am a first-class second-rate composer".
Nicknamed Papa Haydn, the father of the symphony, Franz Joseph Haydn was a very jolly man who wrote 104 symphonies. His Symphony No 103 in E Flat was composed during the grey, foggy and smoke-filled London winter of 1794-95. It is light-hearted, merry and humorous and includes foot-tapping gavottes and minuets. Ably led by "Queen Nefertiti of the music world", the glamorous and talented Dianna Cochrane, the Nelson Symphony Orchestra produced a real team effort with everyone playing their part admirably.
I'm sure I am not alone in hoping that Cochrane, concert leader of the Auckland Chamber Orchestra and a member of the Auckland Philharmonic Orchestra, will come back very soon to grace the Nelson School of Music.
All three works were finely executed in this exhilarating evening, the first classical concert of the Nelson School of Music Winter Festival.
Source: The Nelson Mail, July 18, 2005
Promising futures for young soloists
Romantic Idols, Nelson Symphony Orchestra with Ben Morrison and Buz Bryant-Greene, Nelson School of Music, Saturday night [April 2, 2005]. Reviewed by Richard Rainey.
A full house at the Nelson School of Music heard the Nelson Symphony Orchestra and two brilliant young soloists - violinist Ben Morrison, 18, from Christchurch and Nelson's own 20-year-old pianist Buz Bryant-Greene.
Ben Morrison already has impressive qualifications and experience. He has appeared on TV, played with the Auckland Philharmonia and lead his own winning quartet in the New Zealand Schools Chamber Music competition.
Morrison was soloist in Dvorak's Romance for Violin and Orchestra in F minor. His was an assured, matured performance supported by sound technique. This is dreamy music that washes over the listener and his playing was a very pleasing start to the concert. After a slightly tentative beginning, the orchestra settled into some lovely playing and a perfect balance between soloist and orchestra was achieved. Morrison received well-deserved enthusiastic applause.
The Schubert Symphony No 5 followed. This often heard work is possibly a little overdone in the repertoire and is considered by some to have more interest historically than musically. However with the clear, taut conducting of David Lindup it really came to life. The symphony contains engagingly charming melodies which were made the most of by all sections in the orchestra.
Without detracting from Ben Morrison's playing or the orchestra's contribution, the highlight of the evening was Buz Bryant-Greene's superb performance of the Grieg Piano Concerto in A Minor. This young Nelson pianist is studying at Victoria University for a Bachelor of Music in piano performance. His teacher is Diedre Irons, who frequently performs in Nelson. His playing of this concerto demonstrated a maturity and technique far beyond his years and it was a thrill to have a former pupil of the Nelson School of Music playing here with such authority with our own Nelson Symphony Orchestra.
The Grieg is a truly beautiful work which most young pianists must dream of performing. It contains delightful melodies and the young pianist extracted every drop of emotion intended by the composer. It is hard to decide which of the three movements pleases most, but the finale muse surely be the most beautiful ending to any romantic piano concerto.
Bryant-Green's powerful technique and thoughtful phrasing were particularly noticeable and the influence of his teacher Diedre Irons was unmistakable. He was rewarded with a lengthy standing ovation. For an encore he played Gnomenreigen by Liszt.
Conductor David Lindup is getting great results from the symphony orchestra and deserves congratulations for what he has achieved.
The two soloists have promising futures and we will surely hear a lot more from them.
Source: The Nelson Mail, April 4, 2005
Ovation well deserved
Nelson Symphony Orchestra with guest pianist Diedre Irons, MBE, and conductor David Lindup performing Symphony No 2 by Sibelius and Piano Concerto No 2 by Rachmaninov, at the Nelson School of Music on Saturday [July 10, 2004]. Reviewed by Richard Rainey.
A well-deserved standing ovation with footstamping and whistles was accorded pianist Diedre Irons and the Nelson Symphony Orchestra at the conclusion of the Rachmaninov Piano Concerto No 2 which ended this enjoyable concert before a full house on Saturday night.
The concert comprised two contrasting works - the Sibelius Symphony and the Rachmaninov Concerto.
The Sibelius is terse, grim music evocative of the subdued light of the Finnish landscape but resolves into a mighty song of national triumph.This is taxing music even for the most experienced orchestras. The Nelson Orchestra, despite a slightly shaky beginning, brought the whole work together in a powerful conclusion. There were some tuning problems particularly in the woodwind section. The timpani was prominent - at times crashing and at others threatening rumbles. The orchestra is to be commended for tackling this difficult forceful work.
Irons, probably the country's leading concert pianist, excelled herself with brilliant playing in the Rachmaninov. The work is full of beautiful melodies and it would be a hard hearted listener who would not be moved by the heart tugging final movement of this glorious ultimate romantic concerto.
Irons is a superb pianist and played with complete understanding of the work. When required she displayed tenderness, as shown in the graceful runs in the second movement, and power - very often reinforced by her trademark lifting of her body from the piano stool. The whole work was played as one by the soloist and orchestra. Not only the soloist but the orchestra rose to the occasion and played their hearts out.
Conductor David Lindup deserves great credit not only for his decisive conducting but also for his preparation of the works performed. We are very fortunate to have him in Nelson.
Congratulations to all concerned for a most enjoyable evening and thanks to the concert's sponsors Creative Communities New Zealand and Cafe Affair.
Source: The Nelson Mail, July 12, 2004
Celebration of young talent
Young Musician's Concerto Concert, Nelson Symphony Orchestra, conductor David Lindup, Nelson School of Music, Saturday [May 29, 2004]. Reviewed by David Naylor.
Eleven young talented musicians delighted a near capacity audience at the Nelson School of Music by performing several movements from a wide range of the standard concerto repertoire.
This was not a competition, it was a celebration of youth and music and how fitting that it was held during the finale of the New Zealand Music Month.
Richard Rainey, a former long-serving chairman of the trust board and a teaching fellow of the school, gave an informative commentary throughout the evening. It was with great pride that he introduced his granddaughter Evie Rainey who played with confidence and expression the first movement of Beethoven's Piano Concerto No3.
Ben Newport ably performed the first movement of Bach's Violin Concerto No 1. Victoria Holden gave a fine interpretation of Mozart's Flute Concerto (First Movement).
Nathanael Dejong from Christchurch performed the very demanding First Movement of the Wieniawski Violin Concerto. This work was both challenging for soloist and orchestra.
Jung Wook Lee, also from Christchurch, displayed outstanding technique and musicianship in his performance of the first movement of Mozart's Violin Concerto No 4.
The Grieg Piano Concerto in A minor is a favourite with everyone and Rachel Tanner played the second movement with great control and maturity of style.
Helen Alderson delicately played the Cimarosa Oboe Concerto.
Darvid Molloy of Motueka gave an expressive interpretation of the second movement of Mozart's Clarinet concerto.
The highlight of the evening was the stunning performance of Mendelssohn's Violin Concerto (First Movement) by Christchurch musician Ann Kim. This young violinist produced a warm sound and had total control of her instrument.
The final work was a very secure performance of Mozart's Sinfonia Concertante featuring Fleur Jackson on violin and Hannahbess Thomson-Laing on viola.
There was excellent rapport between the soloists and the orchestra. The Nelson Symphony Orchestra was in fine form. Overall the balance between soloists and orchestra was well maintained. There were some lovely moments from the French horn section.
The Nelson Symphony is a great asset to the city and would rate as one of the best amateur orchestras in New Zealand.
The Young Musicians Concerto Concert provides the young musicians with a unique opportunity to perform as soloists with a mature orchestra.
Congratulations to the conductor David Lindup, the orchestral musicians, the teachers and most of all to the 11 young musicians for a very enjoyable evening.
Source: The Nelson Mail, May 31, 2004
Inspired leadership in another fine concert
Musical Portraits with the Nelson Symphony Orchestra, conducted by David Lindup. Nelson School of Music, Saturday [March 13, 2004]. Reviewed by Michael Monti.
In an interview with the Nelson Mail last week, conductor David Lindup talked of his approach in developing the Nelson Symphony Orchestra. My word, when reviewing their last concert, was: "extending". What Lindup has done, rather, is challenge the orchestra to greater heights.
There was no settling of nerves with a gentle overture. From the first fall of the baton there was the full-on excitement of Gershwin's An American In Paris. The orchestra shone with a mix of strident street noises and scintillating rhythms alternating with soft mellow tones and adroit solo lines.
Georg Wagenseil does not rank as a major composer yet he is one of the few to write a concerto for trombone. Czech born soloist Pavel Strobl had the task of making this little-known work entertaining. While his overall sound was good, an overlong cadenza exposed tonal deficiencies at both ends of the instrument's range.
Violin soloist Miranda Adams made it easy to conjure up images of flight in her exquisite playing of Vaughan Williams' The Lark Ascending. We could visualise the bird's journey high into the sky then flitting and swooping. Her warm tone and precise playing projected the beauty of this difficult piece.
Williams' A London Symphony comprised the second half. This was a major work requiring large orchestration; connections within the wider Nelson musical community saw the brass section supplemented. Written more than 90 years ago as "a glorious picture of our nation's capital" it portrays the solid nature of the British people, culture and architecture. There are signs of disquiet in the first movement but gradually lighter signs of daily life and the reassuring sound of Big Ben overtakes them.
There was fine playing from the entire orchestra throughout the concert. I would have thought some of the solo passages deserved recognition at the end, but it would be remiss to acknowledge any when the conductor did not. The orchestra was well led by Adams for the first and last works, and Richard Wells the two in between.
I had occasion to comment on the printed programme last time, and I do so again: if concert-goers pay for a programme which, after all, is the first impression to be gained by the night out, then it should be accurate. Proper proof-reading is fundamental.
Lindup has great rapport with the orchestra. He engages each section as they are brought in and his deliberate conducting style provides encouragement to all the players. Certainly the orchestra continues to develop under his inspiring leadership. Another fine concert.
Source: The Nelson Mail, March 15, 2004
Players rise to the occasion
Stars of the Future. Nelson Symphony Orchestra conducted by David Lindup, Nelson School of Music, June 21 [2003]. Reviewed by Michael Monti.
As the title implies, this was a concert in which young musicians played concerto movements accompanied by the Nelson Symphony Orchestra. Congratulations to whoever came up with this concept.
It is daunting for any young musician to play solo, in a hall unfamiliar to some, with unaccustomed accompaniment, and before a large audience of mainly strangers. Admittedly, we were all receptive and unstinting in our appreciation of the performances of all the young musicians, most of whom rose superbly to the occasion.
The orchestra, under the baton of David Lindup, had the imposing challenge of playing music by composers as diverse as Bach, Hindemith and Rodrigo, without much time for stylistic changes between each.
Mozart's Overture: The Magic Flute gives a foretaste of the opera's drama, and was a good opening to the concert.
The opening movement of Schubert's Unfinished Symphony was the other work for orchestra alone. Some intonation and ensemble problems detracted from this performance, but the music's lyricism and expressiveness shone through.
Louise Maurenbrecher, from Motueka, had the unenviable position of being the first soloist, playing the treble recorder. While initially nervous, she settled well and played accurately and with dexterity.
Tamsin Leenhowers produced a lovely rich tone. Hindemith's Funeral Music for viola is seldom heard in concert and was played with confidence, set against the sometimes ethereal orchestral accompaniment.
Mozart's Piano Concerto in C minor, K 491, is familiar to many. Evie Rainey achieved a good balance with the orchestra and her playing of the Larghetto was sensitive and mature.
Haydn's Trumpet Concerto in E flat is another well known piece, and the solo part is extremely exposed. Dylan Sedgwick from Golden Bay was nervous but made a good effort and looked relieved that his ordeal was over!
Guitarist Hannah Bos played with confidence and a pleasant rounded tone, totally immersed in the excerpt from Rodrigo's Fantasia para un Gentilhombre.
Rachael Shearer's playing of the Rondeau from Mozart's Flute Concerto in D was fluent and sparkling, with a polished cadenza.
The final (and youngest?) soloists came from Motueka and earned the audience's rapturous applause. Aaron Bryce and Jonathan Tanner, at 15 and 13 respectively, played with a maturity far beyond their years. Their performance of the 1st Movement of Bach's Concerto in D minor for two violins was rich in tone, with dynamic contrasts and unflagging tempo.
The overall standard of the evening's performances was high, with all soloists enjoying the warm support of conductor and orchestra. One final mention: Melita Johnston was unobtrusive yet totally competent as stage manager.
Source: The Nelson Mail, Jun 23, 2003