Auckland Philharmonia at the Auckland Town Hall

Reviewed by WILLIAM DART



You could sense the Auckland Philharmonia's pride when Friday night's concert opened with Anthony Young's The Farewell.

Young's residency with the orchestra has resulted in a score that has the panache of a seasoned composer. In 10 minutes, between its opening and closing horn calls, The Farewell balanced mesmeric chord patterning, swirling textures and stern brass chorales; what is more, the piece blended well with the rest of the programme, providing an overture of unusual substance.

Guitarist Manuel Barrueco was a popular soloist, and the liquid tones of his Dammann guitar made their mark from the first few phrases of his Vivaldi Concerto.

Barrueco's virtuosity flowed effortlessly in the outer movements, with a Largo that was the very soul of languor. The strings, at their very neatest, were able partners, with the crispest of continuo playing from John Wells.

Rodrigo's Concierto de Aranjuez was the centrepiece of the evening, and Barrueco caught the shrug of flamenco in its first movement while conductor Miguel Harth-Bedoya marshalled a delicate orchestral array around him.

The slow movement opened in rapturous duet with Madeline Sakofsky's cor anglais, and climaxed in a breathtaking cadenza.

After interval, Harth-Bedoya reminded us how radical Beethoven's Fifth Symphony was for its time and the orchestra proceeded to demonstrate just why. This was Beethoven as sonic adventurer, right through to its elemental Finale - the "shock of the new, 1802 style".

At one point in the Andante, chattering woodwind were suddenly thrust into the foreground; later, that grand outburst, laced with trumpets and drums, reminded one that Beethoven was an ardent Handelian.

Its not often that a concertmaster plays with a bottle of champagne under her music stand. Justine Cormack led her colleagues through the last piece, with temptation at her feet, for what was to be her last appearance in that chair. Brecon Carter, taking over the conductor's microphone, had saluted Cormack's time with the orchestra and presented her with the bottle in question.

Many in the audience would have appreciated Cormack's invariably professional contributions over the years; some of us have fond memories of her solo turn in Lutoslawski's Chain 2 and hope for more of the same.