Trouble in the pit
Sir: It is tempting to pursue Gillian Wid- dicombe's metaphor of `the. grazing cham- pion' a little further. When champion bulls are grazing, heifers in neighbouring fields tend to be restive and; to use T. S. Eliot's words about another mammal, `betray in- flections hoarse and odd'.
Much hoarser and odder in fact than the sounds she attributed to the New Philharmonia Orchestra.
Gerald MacDonald General Manager, New Philharmonia Orchestra, 61 Carey Street, London wc2
Sir: As a long-time admirer of the Philharmonia Orchestra (both the `old' and the 'New' versions), I was immensely in- terested in, and stimulated by Gillian Wid- dicombe's 'Trouble in the pit' (25 April). I write, however, as someone who regards this body of musicians as the finest of the Lon- don orchestras. But then, musical tastes differ widely, and so I am not very surprised to find myself disagreeing with Miss Wid- dicombe upon the relative merits of past and present Philharmonia players.
I cannot agree, for example, that David Mason's trumpet playing is 'less outstanding' than that of Philip Jones. However, their characteristics are very different, and which one is preferred depends upon the individual listener My personal vote goes to Mr Mason, but I naturally recognise your reviewer's (equally valid) preference for Mr Jones. Again, I greatly admire the tonal 'beauty of Nicholas Busch's horn playing. but I am not going to complain if your writer prefers the more vibrant style of Alan Civil. In the same way, while I marvel at the ebullience of Bernard Walton's clarinet work in the LPO, I personally feel that John McCaw's more self-effacing performances in the NPO are perhaps better suited to general orchestral technique. But if your reviewer chooses to prefer Mr Walton's playing—fair enough.
What I do not regard as fair, though. are Miss Widdicombe's remarks concerning the principal flute. Yes, I have known Gareth Morris to be occasionally—very occa- sionally—"off form", just like any other musician, but his flute playing, outstanding rich and beautiful, has been a magnificent feature in the Philharmonia for many years, and I have yet to hear a comparable flautist. I ccinsider the comments in the article con- cerned to be unwarranted, and I cannot imagine many people agreeing with them. 11 see that Mr Morris is not mentioned by name. I am not surprised.) I do side with your writer, however, about the need for a new principal conductor, although I would not dismiss Giulini so easily. But, at the same time, j was very pleased to hear the favourable comments of an opera fan about Klemperer's recent con- cert performances of The Marriage of Figaro and Act I of Die Walklire. Although I have sometimes been a little disappointed at the quality of the NPO'S playing under their Honorary President, I was delighted to know that the opera fan in question, like myself, was prepared to queue for a couple of hours at the Festival Hall for the forthcoming Beethoven cycle 'to be undertaken by Klemperer. Yes, I can think of conductors who can achieve greater precision, but it is good to know that the good qualities in his performances are still appreciated.
A final thought: might it not be a good idea for there to be a 'New Philharmonia Club'? It does seem rather strange that one can join the LSO club and the RPO club, but not join a `NPO club'. Since a public relations job needs to be done, I hope that Gerald MacDonald, the NPO'S new General Manager, will consider forming such an organisation.
1. Anthony 0. Lewis 18 Park Avenue, Willesden Green, London Nw2
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