Auckland Philharmonia at the Aotea Centre

By TARA WERNER

AOTEA CENTRE, Auckland - Given that two centuries divide Beethoven and the Spanish composer Joaquin Rodrigo, it seems remarkable how similar their music is - not necessarily in style, but in intent.

Both speak with a directness of approach, which is probably one of the reasons why they continue to maintain a wide popularity with audiences today.

The four works on the Auckland Philharmonia's programme conducted by Miguel Harth-Bedoya gave plenty of opportunity for comparison - an overture and symphony by Beethoven and two concertos for guitar by Rodrigo.

The latter had an assured proponent in American guitarist Jason Vieaux, who performed the Concierto de Aranjuez with great sensitivity.

For instance the famous adagio with its accompanying plaintive cor anglais solo (beautifully played by Madeline Rackham) flowed along nostalgically.

While the opening allegro had the necessary tautness, it was a pity that the finale was spoilt by some rough entrances by the musicians and disjointedness between soloist and orchestra within the shifting rhythms.

Beforehand the Fantasia para un Gentilhombre suffered from a similar fate. All the movements came across elegantly except for the last, where again the alternating rhythms gave a number of awkward moments. Two encores showed how wide-ranging in timbre the guitar can be.

Meantime, back to Beethoven. Despite its sluggish beginning the orchestra provided plenty of drama in the rest of the Leonore Overture No 3, while the Beethoven Symphony No 4 received a straightforward interpretation. Not exactly exciting, but a workmanlike performance of this very Haydn-influenced work.