CLASSICAL MUSIC: Coenraad Visser
CONCERTOS for piano and violin by Mozart had mixed success in the first two concerts of the National Symphony Orchestra conducted by visiting British conductor Meredith Davies.
Francois du Toit, standing in at short notice for Tessa Uys, gave a carefully considered reading of the composer’s A Major Piano Concerto. As in his recent Beethoven performance, Du Toit impressed with his brisk, clean articulation in the outer movements and a lovingly moulded slow movement. One’s only reservation was that the performance was perhaps just a touch too cerebral, so that ultimately it lacked sparkle and spontaneity.
Yuri Braginsky was less successful in the composer’s violin concerto in the same key. Although Braginsky’s tone was sweet and appropriately lighter than for his Beethoven rendition, his performance was fairly routine and never remarkable in any way. The slow movement fared best — poised yet gently expressive.
Both performances were seriously hampered by the ponderous, outmoded accompaniment dished up by Davies. This was particularly irksome in the violin concerto, where the upper strings produced their own phrasing, totally at odds with the soloist’s.
Davies fared best in Delius’ Brigg Fair. Here Davies’ reading was expansive, full of the intensity and affection so sadly lacking in his versions of the more standard romantic repertoire. He carefully sculpted the tonal contours of these variations, and for once the NSO responded with playing that showed commitment and a unity of musical vision.
Perhaps Davies could be persuaded to conduct some orchestral music by Benjamin Britten, a composer with whom he was closely connected.