NZ Symphony at the Auckland Town Hall

By WILLIAM DART

There was thoughtful programming behind the NZSO's most recent visit, with complementary concertos for trumpet and horn on successive evenings and two contrasting Stravinsky works on the one bill.

For those who attended on both Friday and Saturday there was a bonus to be had in comparing two major scores by one of the great 19th-century Russian composers and his most celebrated pupil - Rimsky-Korsakov's Scheherazade and Stravinsky's Petrushka.

Another bonus was the presence of English conductor David Atherton, the perfect maestro to launch Penelope Axtens' from the sixth hour.

This commission, the result of the young composer winning the Music 2000 Prize, was mightily impressive with its dense, rich textures.

Although the shadow of Lutoslawski loomed in some of its dark shadows, Axtens revealed a sure and individual instinct for what the orchestra is capable of, from bold string unisons with a touch of the Middle East to them through to mysterious, dolphin-like moans. There were moments of shuddering, apocalyptic terror and a dizzying dance of disorientation, all brilliantly delivered.

If there were times in from the sixth hour in which every player seemed a soloist, the two official soloists over the weekend were orchestral principals.

Michael Kirgan's clear, beautifully focused playing gave Haydn's Trumpet Concerto its full due, particularly in the lilting Andante.

On the Saturday, Edward Allen and his colleagues brought out the poetry of Oliver Knussen's Horn Concerto. Indeed, at times the evanescent textures made it seem more like Concerto Grosso than Concerto, led by Atherton's masterly balancing and Allen's noble sense of line.

There were three shorter orchestral pieces. On Saturday, Glinka's Russlan and Ludmilla Overture might not have been the Russian roadrunner it often is but never lacked vivacity and dash. Sibelius' Pohjola's Daughter, a symphonic fantasy that's more symphonic than fantastical, was imbued with a rich Nordic glow.

The previous evening, Stravinsky's elegant take on the Pas de Deux from Tchaikovsky's Sleeping Beauty was scrumptiously served up by a select group of players.

The highlight of the weekend, though, was the chance to compare Petrushka and Scheherazade. Both works allowed the orchestra to show its mettle to the full. Petrushka pulsated with excitement as Stravinsky slashed from style to style in the equivalent of cinematic jump-cuts, with Atherton unable to resist the temptation to dance with the music where appropriate.

Scheherazade is a more revolutionary work than its tunefulness might suggest with more than a few hints of a Petrushka to come. Not only was this a thrilling experience for the audience, but the players were clearly enjoying themselves too.

It was an apt farewell for leader Wilma Smith, who played her solo part with her usual verve and spirit. She will be missed.