By TARA WERNER
BRUCE MASON CENTRE, Auckland - The Auckland Philharmonia has come up with a theme that should prove attractive for its MidWinter Masterpieces series.
Landmarks links each concert to a common subject - nationalistic, having historical connections or a shared language - or to scores that are icons of
their time, evoking the special circumstances of their composition.
The opening work on Saturday night, Haydn's London Symphony No 104, was a case in point. Commissioned by the impresario Salomon as a moneymaking exercise for both himself and the composer, the symphony nonetheless must have delighted a jaded London audience.
Assistant conductor Marc Taddei directed a taut and exciting interpretation, although the final two movements were taken at a breakneck speed that affected the orchestra's coordination.
Then came a concerto beautifully crafted for the instrument it was intended - Strauss' youthful Horn Concerto No 1, Op 11. Here Helen Burr, principal third horn, played in the spirit of the work if not the letter, with a performance full of bravura.
Her opening extrovert flourishes paved the way for an energetic account, and she hit the frequent high B flats with alacrity, although in some sections of the concerto the horn's notoriously difficult nature gave rise to blemishes in intonation.
Three decidedly nationalistic works filled up the rest of the short programme, all highlighting the increasing discipline of each section of the orchestra, conducted by Miguel Harth-Bedoya.
Lilburn's wonderfully evocative Aotearoa Overture became, by programming accident, a moving musical obituary to the composer, who died last week at his home in Wellington.
Here his idiosyncratic rhythms, openness of orchestral writing and, above all, robust writing for brass were given an affectionate performance.
The brass also worked hard in a work by Sibelius, Finlandia, and the music's emotional sincerity came throughout a searing performance.
Finally, the humorous Variations on America by Charles Ives gave a nice balance. The tune, better known as God Save the Queen, was in turn twisted, torn apart and reconstituted in a witty orchestration by William Schuman.
