BRAHMS DOUBLE
Review of October 2026 Concert by Rogan Falla
It’s rather unfair to say ‘the best was left to the last’ when we have been treated to such a splendid series of concerts this year, but the last concert of the Subscriptions series must rate among the best the orchestra has played in recent years. Led most ably by Rose Stevenson and conducted with style and wonderful skill by Michael Joel, the orchestra’s Musical Director, the playing was of a very high standard.
The opening work was Mozart’s Symphony No 35 in D ‘Haffner’, written to honour Sigmund Haffner Jnr, whose father was a long-time friend and supporter of the Mozart family. Haffner Jnr had been raised to the Imperial nobility for his philanthropy and his father requested a piece to celebrate it. The composition is a marvellous blend of light and lilting themes – exultant, genteel, graceful, mixed with decisive and disciplined pomp. Mozart at his best. Woodwinds were back to full strength and with the trumpet produced great ensemble playing, and the strings were superb. Ends of phrases were crisp and accurate, and intonation was immaculate. All sections created a happy and joyous blend. Tempi were not rushed and the whole demonstrated wonderful 18th century grace and style.
Monique Lapins and Matthias Balzat were the soloists in Brahms’ late work, Concerto for Violin and Cello in A minor. Monique, now Associate Concertmaster of the Auckland Philharmonia, and previously Second Violin in the New Zealand String Quartet, and lecturer at the NZ School of Music at Victoria University, Wellington. Matthias Balzat, a NZ-born cellist, was a student of James Tennant at Waikato University before post-graduate studies with the great cellist Peter Wispelway in Europe. He has recently joined the NZ Trio as a permanent member. These soloists could not have been better matched and their empathy and unity of style made it a memorable performance. The concerto opens with the cadenzas – rather an unusual introduction. Triple stopping in the cello and intense searching themes from both soloists led into the main richly melodic themes. The two soloists articulated these most beautifully. Balzat’s rich cello line was dramatic and sensuous while Lapins’ soaring upper register was thrilling.
The slow movement, Andante, was full of rich themes from the soloists, who were splendidly supported by the woodwinds. The Finale, Vivace non troppo, hinted at Hungarian folk music, and the blended lines of the soloists and the concluding passages with spiccato in the cello line added to the fun and triumphant ending. What a tour de force. Brilliant soloists and a totally committed orchestral backing. Thoroughly deserving of the sincere and admiring response from the sizeable audience which had been spellbound throughout.
Following the interval, the Symphony No1 in D major by Charles- Francois Gounod lifted the musical mood into mid-nineteenth century French froth and meringue. It was played with a light and joyful touch, a lovely range of tempi and charming and graceful melodies. Not often heard, it was a fun ending to follow the intensity of the Brahms.
The wine and cheese which followed each concert this year has been a very pleasant way to relax after the music and allowed the audience to chat with players, soloists and conductor. The leaflet giving us the programmes for the 2027 season was another. 2027 certainly looks as if it will be another year of fine music. Thanks St Matthew’s Chamber Orchestra players for sharing your talents – you are a very much appreciated part of the Auckland musical scene.