Positive Points about Selected Concerts - 2000/01
Autumn 2000 to Summer 2001 (end of the season = "last night of the
proms")
**********************************************************************
15th Sept 2001 - 7:30 pm, Cameo Brass + Yvonne Bloor (Guitar)
Stoughton Church, Leics.
Roger Swann = horn (for Cameo Brass)
A good audience heard both Cameo Brass and Yvonne Bloor in fine form in
a candle lit concert helping to raise money for Nicky Herbert's forthcoming
trip to Bolivia.
The atmosphere was further warmed by the copious interval
refreshments!
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8th Sept 2001 - 7:30 pm, Cossington Village Society Variety Show
Cossington, Leics.
Roger Swann = horn (for Cor-I-Tani quartet items)
A good range of acts including a surprise visit from (reincarnated)
Elvis meant that all audience tastes were catered for.
Cossington Voices perhaps represented the most sophisticated part of
the evening with a well articulated madrigal. Without doubt the prize for the
least sophisticated item goes to the non-award winning "Bolsover Over
Ballet".
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3rd Sept 2001 - 10:00 pm, BBC Prom 59 - Nash Ensemble- Pierre-Andre
Valade + Claron McFadden (sprechstimme)
Royal Albert Hall, London.
Six string players of the Nash Ensemble played Schoenberg's Verklarte
Nacht with precision and intensity, fighting the over-spacious acoustic as they
went. Of particular note was the mellow tone produced by the viola player
Lawrence Power.
Clarron McFadden gave a characteristically expressive performance of
Pierrot Lunaire which showed the Nash Ensemble in fine form but clearly tested
the concentration of several different members of the audience who found
various means of generating niggling distractions.
**********************************************************************
2nd Sept 2001 - 7:00 pm, BBC Prom 57 - BBC NOW - Tadaaki Otaka +
Andreas Haefliger (piano)
Royal Albert Hall, London.
The world premier of 23 year old Julian Philips' 'Out of Light' showed
the firm grasp he holds on the art of orchestration (and also the art of
writing challenging harp parts). If he can develop a distinctive voice whilst
striving to write music classed as "more accessible" then he will be a name to
listen out for.
The BBC NOW peaked for the final piece of the concert, capturing the
dark, sinister mood required by Rakhmaninov in his Symphonic Dances to
perfection.
**********************************************************************
16th August 2001 - 9:00 pm, Sergio Fabian Lavia - Guitar +
Giulio Bongiascia - Flute
La Galleria - Milan.
An informal concert designed to please the passing tourists proved most
enjoyable. Of particular note was the guitar playing of Serigio Lavia
especially in his own arrangements of Argentinean folk songs.
**********************************************************************
29th July 2001 - 7:45 pm, Marino Marini Ensemble + Friends
(Part of the Guiting Festival)
Guiting Powers Village Hall, Gloucs.
Roger Swann = horn (as a "Friend")
A repeat of the programme from 27th July but this time in a
space with a very dry unforgiving sound, at an elevated temperature (warm
enough to test the patience of the Italians who had come to England expecting
moderate weather!).
An enthusiastic audience gave a warm (literally) reception to the
Ensemble. The village deserves to be congratulated on running it's annual
festival (now in it's 31st year) and in attracting and retaining the
festival's president, Joanna MacGregor.
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27th July 2001 - 7:30 pm, Marino Marini Ensemble +
Friends
Barnwood Church, Gloucs.
Roger Swann = horn (as a "Friend" [although this was the first
acquaintance with the Mario Marini Ensemble]).
A pleasingly generous acoustic allowed the "Friends" to appear better
integrated into the Italian ensemble than they actually were.
The Marino Marini Ensemble tackled two pinnacles of the 20th
Century wind quintet repertoire (Barber's Summer Music and Ligeti's Six
Bagatelles) with frisson and passion. Individually they all proved completely
at ease with the technical challenges offered by the music.
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23rd July 2001 - 8:00 pm, COMA Regional Ensembles Concert.
Breton Hall, Yorkshire
Roger Swann = Horn (COMA East Midlands)
A classic COMA (Contemporary Music for Amateurs) evening shared between
the London, East Midlands, West Midlands, Yorkshire and North West
Ensembles.
All ensembles played to a high standard and between them covered a wide
range of music. Well over half the pieces performed were composed by the COMA
ensemble members.
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15th July 2001 - 2:30 pm & 7:30 pm, Gilbert & Sullivan's
"Patience" - Nene Opera - Director: Tim Hurst-Brown - MD: Keith Oliver
Key Theatre, Peterborough, Cambs.
Roger Swann = Horn.
After minimal rehearsal two performances challenged the concentration
of the orchestra - most were up to the challenge!
Reviewing the stage performance from the (hidden) orchestra pit, one
felt that all the principal roles were well projected and characterised.
Certainly they drew plenty of happy chuckles from the audience.
**********************************************************************
7th July 2001 - 7:30 pm, Derby Concert Orchestra - Jonathan Trout -
Adam Caird (piano)
St Mary's Church, Wirksworth, Derbyshire.
Again the Derby Concert Orchestra tackled a musically adventurous
programme of Russian music, boldy including Tchaikovsky's Manfred Symphony and
Scriabin's Piano Concerto in F#, Op 20.
The Scriabin had some shimmering orchestral colours and made a good
contrast to an effervescent start in the form of Glinka's Russlan and Ludmila
overture.
**********************************************************************
6th July 2001 - 8:00 pm, Leicestershire Arts: Training Band,
Intermediate Band and Birstall Brass.
Holy Trinity Church, Leicester.
A very varied programme was played with accuracy and enthusiasm by
all.
Nigel Hess' Thames Journey, served to demonstrate the technical
accomplishment of the Training Band directed by Patrick White.
Some sparkling playing from Birstall Brass under the batton of Alan
Holford included a typically witty arrangement of Granada by Richard Bissell (a
former member of the Leicestershire Schools Symphony Orchestra).
The Intermediate band were not in the least intimidated by their more
experienced collegues and played an arrangement of jazz standards by Jerry
Brubaker with a good sense of swing. Equally they were able to tackle the
Fantasia on British Sea Songs with the stiff upper lip style such a 'British'
piece requires. Perhaps the band's flexibility stems from the same quality
present in it's conductor, Paul Bennett.
***********************************************************************
4th July 2001 - 8:00pm BB King + band.
DeMontfort Hall Gardens - Leicester
Perfect weather allowed a large crowd to enjoy the ageing but still
charismatic (and musically (if not physically) energetic) BB King putting on a
good audience rousing show (even if, in typical English reserve, most of the
audience never really got that aroused!).
All members of the band were top class but the stratospheric and
unbelievable accurate trumpet playing deserves special mention.
This gig served further notice that DeMontfort Hall can successfully
host world class performers.
***********************************************************************
30th June 2000 - 7:30 pm, Wind Ensemble directed by Graham Beebee
Trowlock Meadow, Teddington, London.
Roger Swann = Horn
A full day's enjoyable rehearsal meant the ensemble's stamina (both
physical and mental) was pushed to the limit for the performance in the
beautiful surrounds of Trowlock Meadow. This resulted in one or two
disappointing slips marring what could have been a quite sophisticated
performance.
Such minor discrepancies did not seem to worry a happily lubricated
audience enjoying a warm British summer's evening by the river.
***********************************************************************
29th June 2000 - 8:00 pm, Countesthorpe College Chorus, Chamber Choir
& Orchestra - Giles Turner - Tim Smart (Trombone)
St Thomas Church, South Wigston, Leics.
Roger Swann = Horn
Again the music department of Countesthorpe College demonstrated there
technical security and musical enthusiasm in a very enjoyable evenings music
making.
Handel's The King Shall Rejoice was suitably rousing and pleasingly
stately as the music required. This was followed by some top class
unaccompanied singing from the chamber choir in three part songs by Gerald
Finzi.
Tim Smart joined the orchestra for Launy Gröndahl's rarely heard
trombone concerto (written in 1924). It was a perfect opportunity for present
day college students to hear how a former student has developed into a fine
musician with a polished round tone.
Giles Turner's able conducting kept both choir and orchestra working as
a cohesive team for Fauré's Requiem
***********************************************************************
25th June 2001 - 7:00 pm, Lady Macbeth of Mtsensk - English National
Opera - Mark Wigglesworth
The Coliseum, London.
An absolutely stunning performance from Vivian Tierney in the title
role made Shostakovich's opera a night to remember. Every once of angst was
played for all it's worth by all the lead characters as the sordid tale
unfolds. Some viciously acerbic music was played magnificently by the orchestra
- including some tight brass playing from the on stage band.
***********************************************************************
23rd June 2001 - 7:30 pm, University of Leicester Sinfonia - Michael
Sackin - Shivi-Adriana Ramoutar (piano)
Fraser Noble Building, Leicester.
Roger Swann = Horn
A large audience turned out on a beautiful warm summers evening to hear
ULS tackle an ambitious all Mendelssohn programme.
Perhaps the most musical moments were achieved in the overture "Son and
Stranger" which was the least technically challenging work performed.
***********************************************************************
16th June 2001 - 8:00 pm, Stamford Chamber Orchestra - Adrian Brown -
Martin Quinn (tenor) - Mark Penny (horn)
Stamford Arts Centre, Stamford, Lincs.
Roger Swann = Horn
Britten's Serenade for Tenor, Horn and Strings gave Martin Quinn an
opportunity to show his strong voice. Mark Penny gave us an especially
enjoyable hand-stopped F at the end of the Nocturne.
This was followed by a rombustuous account of Brahms' Seranade No 1 in
D major Op. 11 (announced as "D minor " in a completely unnecessary
introductory oratory from Adrian Brown).
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15th June 2001 - 7:15 pm, "Paradise Moscow" - Opera North - Jim
Holmes
Theatre Royal, Nottingham
Shostakovich in lighter vain tackling the problem of tower block living
in Moscow and managing to sound like a cross between Weill and Gilbert &
Sullivan. Some moments of great slapstick comedy in a fast moving very
colourful production.
Lovely 'large' warm tuba playing (where required) from Brian Kingsley.
***********************************************************************
10th June 2001 - 7:30 pm, Leicester International Festival
Ensemble
New Walk Museum, Leicester
Previous years have shown the Leicester International Music Festival to
be the provider of the best quality chamber music in the city each year and
this concert suggests that this year's events will follow the same
pattern.
It was exciting to hear unusual repetoir (The first half consisted of
Glazunov's Idyll [string quartet + horn] and Britten's 'cello Sonata Op 65)
played with enthusiasm and precision.
The performance of Dohnanyi's Sextet Op 37 was especially enjoyable
with some wonderfully accurate ensemble playing and pleasingly discrete playing
from the horn (Stephen Stirling) and clarinet (David Campbell).
***********************************************************************
9th June 2001 - 7:30 pm, Helix Ensemble - David Greed - Jeremy Kimber
(piano)
Emanuel Church, Loughborough
Roger Swann = Horn
David Greed brought the Ensemble to life for an all Mozart programme.
This was especially so in an energetic account of the "Prague" Symphony (No.
38) which was enjoyed by a near sell out audience.
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2nd June 2001 - 7:30 Philharmonia Orchestra - Lorin Maazel -
Gil Shaham (violin)
DeMontfort Hall - Leicester
Lorin Maazel secured some delightfully restrained playing from the
Philharmonia during Mozart's fifth violin concerto. This was followed by an
absolutely world class performance of Bruckner's majestic Eighth Symphony.
Maazel drove the piece with precisely judged pace and the orchestra hung on his
every gesture; the variety of orchestral colour in Bruckner's scoring was
particularly striking.
The appreciative audience (maestro Maazel receiving a terrific
reception from both the Leicester listeners and also the orchestral musicians)
were able to enjoy to the full the way layer upon layer of music is laid down
to draw you onto (and into) ever greater spiritual climaxes.
DeMontfort Hall should be very proud that they are now able to host
performances of this calibre.
**********************************************************************
23rd May 2001 - 7:30 pm, - Isabelle Flory (violin), Barry Collett
(piano)
St Mary's Church, Ketton, Rutland.
An intelligent programme choice demonstrated a wide variety of violin
playing styles - with Isabelle Flory proving a master of them all.
The Schubert Sonatina No. 3 (G min) was played alternately with grace
and gusto with some enjoyable nuances using different bowing patterns. There
were some moments of great precision between the violinist and pianist who's
roles are more-or-less equal in this piece.
Playing four different short pieces for violin and piano it is again
most disconcerting to hear a French violinist play English music in such a
perfectly English - Elgarian manner!
**********************************************************************
19th May 2001 - 7:30 pm, Rutland Sinfonia - Barry Collett - Margaret
Fingerhut (piano), Isabelle Flory (violin), Nathanaëlle Marie (Violin),
Agnès Vesterman ('cello)
St James The Greater Church, Leicester.
Roger Swann = horn.
An emotional event celebrating 25 years of the orchestra and marking
the retirement of it's founder and musical director Barry Collett. It's a
tribute to his knowledgeable musicianship and amenable personality that four of
the (many) regular top class soloists were able to return to play with the
orchestra.
Nathanaëlle Marie reminded us of her flawless technique in the
ultra high register combined with her wonderful sense of long phrasing in the
first violin concerto by Saint-Saëns. It would be great to hear her play
the Szymanovsky concertos.
Isabelle Flory and Agnès Vesterman captured perfectly the
various moods of La Muse et le Poète (Saint-Saëns) with the total
rapport of the two soloists obvious to all members of the audience.
Margaret Fingerhut conjured up her characteristic beautiful lightness
of touch (in spite of a less than perfect piano) in Chopin's Andante Spianato
and Grand Polonaise and was able to contrast this effortlessly during the more
thunderous moments. What makes her performances exceptional is the care and
consideration applied to every phrase whilst still ensuring that they all fit
together to make the piece musically whole.
It is characteristic of the whole Rutland Sinfonia ethos that Barry
Collett chose to end his term in charge with the rarely performed Symphony by
Ernest Chausson (op 20). Starting and ending with some gloriously ethereal
writing the piece served to illustrate yet again the impeccable musical taste
of the man who had the vision to form the orchestra and the wisdom to drive it
for a quarter of a century.
*********************************************************************
17th May 2001 - 7:00 pm, Soiree Programme - Pupils of Water Leys
Primary School
Water Leys Primary School, Wigston, Leics.
The PTA organised copious wine and nibbles whilst the audience enjoyed
the ebullient enthusiasm of all the performers (and also the same
characteristics from the 'controlling' staff - particularly the unflappable
Julie Smith!)
It was especially enjoyable to hear William Dooley announce that he was
definitely "NOT NERVOUS" before he played Old MacDonald Had a Farm on his
fiddle after only a few lessons!
**********************************************************************
16th May 2001 - 7:30 pm, Calamity Jane - Greasepaint Productions
Loughborough Town Hall, Leics.
Greasepaint were back on top form with a very colourful rip roaring
staging (producer: Shane Perry) full of lively, well executed choreography
(Jeanette Patrick). Strong performances from most members of the cast including
a delightfully perky title role played by Alix Dobson.
A fine string section helped the band achieve a consistently high
standard under the baton of Jonathon Orton.
***********************************************************************
12th May 2001 - 7:30 The Bardi
Symphony Orchestra - Andrew Constantine - Craig Ogden (guitar)
DeMontfort Hall - Leicester
Roger Swann = Horn.
A rare opportunity to hear The Third Symphony by Stanley Bate with the
orchestra being especially successful in capturing the excitement and vivacity
of the Finale.
Craig Ogden's performance of the Concierto de Aranjuez proved popular
with the large audience (inspite of the competition of a glorious warm summer's
evening).
***********************************************************************
8th May 2001 - 7:30pm Philharmonia Orchestra - David
Atherton - Tasmin Little (violin) - Peter Maxwell Davies
De Montfort Hall - Leicester.
An exiting rendition of Walton's Crown Imperial was followed by a
rather perfunctory performance of Elgar's magnificent violin concerto.
Without doubt the main event of the evening was the chance to hear
Peter Maxwell Davies conduct his own Antartic Symphony (No. 8). This was given
it's world premier by the same forces in London two days ago - but having it
repeated in Leicester must still be regarded as a bit of a coup for DeMontfort
Hall.
The piece consists of a single movement with a continual flow of
orchestral colours. Clearly the Antartic presented a wide range of experiences
for the composer - the music captured some steely chill atmosphere as well as
some good stirring storms. Whilst the lack of any obvious musical structure
might accurately reflect the feel of the southern continent it may also come to
be regarded as the musical weakness of the piece.
It's certainly worthy of a second listening.
***********************************************************************
5th May 2001 - 7:30 pm, Nottingham Philharmonic Orchestra - Jacques
Cohen - Vladimir Ovchinnikov (piano)
The AlbertHall, Nottingham.
The NPO under the sprightly baton of Jacques Cohen gave a tight
rhythmic performance of Stravinsky's Symphony in Three Movements and provided
an accurate accompaniment for Vladimir Ovchinnikov's dynamic performance of the
First Piano Concerto by Tchaikovsky.
The bold "all Russion" programme was rounded off with the luscious
Third Symphony of Rachmaninov.
Throughout the concert the NPO strings made a good solid sound which
was matched by the secure brass section.
***********************************************************************
3rd May 2001 - 7:45 pm, The Leicester Symphony Orchestra - Nicholas
Daniel (conductor and oboe)
The DeMontfort Hall, Leicester.
After a slightly jittery start Elgar's Cockaigne Overture set the
standard for what was to follow. Played alternately with excitement and
tenderness (occasionally at the expense of accuracy) it frequently captured the
true essence of Elgar.
Nicholas Daniel directed the orchestra from the oboe for a poised
performance of the concerto by Vaughan Williams. It was clear that the strings
found this experience nerve racking but they still captured the gentle pastoral
atmosphere required to make the piece work.
The second half of the concert was Tchaikovsky's Fourth Symphony. The
orchestra were both startling and sparkling and Nicholas Daniel (who clearly
new the score inside out) wrung every drop of emotion from every member of the
band.
This was one of the most musically satisfying performances the
Leicester Symphony Orchestra have given in years.
************************************************************************
29th April 2001 - 7:30pm Opera North Brass Ensemble + Guests
Pears School, Repton School, Repton, Derbyshire.
A gala concert forming the culmination of the two day Repton Brass
Festival. Two of the highlights of the Sunday festival day were the informative
and clearly presented master class given by Chris Houlding and the Trombone
Technique presentation delivered by the larger than life American trombonist
Don Lucas.
The concert itself featured top quality playing from all participants -
but a special credit must go to "Bones Apart" an up and coming quartet of
female trombonists who play with accuracy and a very infectious enjoyment.
************************************************************************
26th April 2001 - 7:30pm Ixion - Michael Finnissy
Djanogly Recital Hall, University of Nottingham.
Virtually the whole programme (Magnus Lindberg, Morgan Hayes, Bryn
Harrison, Chris Newman, Geoff Hannan, Paul Whitty, Michael Finnissy, and Andrew
Toovey) consisted of music with no discernable form and very little musical,
timbre or dynamic contrast. The exception was "See Our Lake" by Laurence Crane
which at least provided a little break from the assault on the mind and
ears.
They were writing music like this twenty years ago and it all seemed a
little old fashioned.
************************************************************************
21st April 2001 - 7:30pm Philharmonia Orchestra - Esa-Pekka Salonen -
Richard Watkins (horn)
De Montfort Hall - Leicester.
The concert started with Bartok's Divertimento for strings.
Richard Watkins joined the orchestra to give a thoroughly modern (ie
almost old fashioned by today's modern trends.....) performance of Mozart's
4th Horn Concerto K495. Richard Watkins' sound can easily fill the
cavernous DeMontfort Hall - and it did. Very polished semi-quaver passages in
the first movement were followed by a particularly graceful interpretation of
the slow movement.
Sibelius' Fifth Symphony was marred by over loud (admittedly high
quality) brass and horns (see concert review for 29th Nov 2000 below).
The orchestra didn't really shine until the encore - Sibelius - Death
of Melisande. This was dedicated to the memory of G. Sinopoli (a former musical
director of the Philharmonia) - who died the previous evening whilst conducting
the third act of Aida. Suddenly the members of the orchestra played as one with
intensity and accuracy appropriate for such a dedication.
***********************************************************************
7th April 2001 - 7:30 pm, Hinckley Choral Union - University
of Leicester Sinfonia
Hinckley United Reformed Church, Hinckley, Leics.
Roger Swann = horn
Richard Archer directed carefully considered performances of Haydn's Te
Deum and Harmonie Messe together with the Laudate Dominum by Mozart.
Maestro Michael Sackin directed the University of Leicester Sinfonia
alone in a performance of Haydn's Symphony No. 90 in C. His characteristic
infectious enthusiasm must have permeated through to the audience.
***********************************************************************
4th April 2001 - 7:30 pm, Ensemble Galant - Andrew Clark
(horn)
Frazer Noble Hall, London Road, Leicester.
A preview of a programme soon to be presented at the Wigmore Hall
proved an historically interesting event. The gut strings and minimal vibrator
employed by Ensemble Galant gave the whole concert a sombre brooding quality.
This especially suited the String Quartet in C maj (D46) by Schubert.
Andrew Clark has elegant and controlled lip trills which littered the
performance of Hoffmeister's horn quintet and Haydn's Divertimento a tre.
Playing the natural horn with panache and bravada, Mr Clark almost made split
open notes sound part of the musical experience.
***********************************************************************
31st March 2001 - 7:30 pm, Cossington Wind & Brass -
Music at St. Marys
St. Mary's Church, Sileby, Leicestershire.
Roger Swann = Horn + Conductor
A large and appreciative audience enjoyed a varied programme of brass
and wind music (much of which was arranged by Colin Harrison).
Perhaps the most successful piece was "Overture for Brass" by Fred Le
Frank which captured the American marching band style very effectively.
The acoustics of St Mary's Church perfectly suited the music played: It
would be ideal for some antiphonal Gabrielli next time……
***********************************************************************
30th March 2001 - 7:45 pm, HP Sauce, Houghton Singers, Lisa Nelson
(flute) - Rodney Newman Memorial Concert
Houghton on the Hill Village Hall, Leicestershire.
Roger Swann = Conductor (HP Sauce)
Taking on Brigg Fair pushed the players (and the conductor) of HP Sauce
to the limit and also proved an endurance challenge to members of the audience.
However the orchestra didn't break down and one or two moments captured the
downward sliding harmonies that are so characteristic of Delius.
Lisa Nelsen was a welcome guest artist and it was marvellous to hear
Density 21.5 by Varese played with a steely powerful tone. This was contrasted
by the warmth and grace of J S Bach played with accuracy and poise.
The Houghton Singers featured a spectacular piano solo from Julia
Warner in the middle of a somewhat less than spectacular arrangement of Andrew
Lloyd Webber songs.
***********************************************************************
24th March 2001 - 7:30 pm, Helix Ensemble - Jacques Cohen - Patrick
Larley (tenor)
Fraser Noble Building, Leicester
Roger Swann = Horn
Patrick Larley stepped in at very short notice in place of the
advertised tenor who was indisposed. He chose a very spacious interpretation of
the Britten Seranade for tenor, horn and strings allowing plenty of time for
phrases to impact on the audience. Modesty prevents comments on the horn
playing but good fortune seemed to be about in abundance!
The strings coped admirably with the technical challenges of Barber's
Capricorn concerto and provided a spikey backdrop for the soloists (Jo Conquest
(flute), Julia Watson (oboe) and Martin Cresswell (trumpet)) to playfully
bounce off, resulting in an enjoyable end to a successful concert.
Jacques Cohen conducted with rhythmic precision throughout.
***********************************************************************
22nd March 2001 - 7:30pm - CBSO - Marin Alsop - Piotr Anderszewski
(Piano)
Symphony Hall, Birmingham.
Braving vertigo to sit on the back row of the grand tier of Symphony
Hall allowed us to hear the CBSO still sounding top class even though there
seemed to be many new faces in different sections of the band. Sitting high up
does mean that the brass and horns (can sound especially coarse) carry far to
well - the orchestral balance is much improved when listening from the stalls.
However the acoustics are still remarkable - the volume and clarity of the
leader Peter Thomas's violin solo's was outstanding at such a physical
distance.
The orchestra seemed to enjoy playing under the clear beat of Ms Alsop.
They certainly coped effortlessly with the virtuosic requirements of both
Copland's Appalachian Spring and the Symphonic Dances by Rachmaninov.
Piotr Anderszewski played the sparse third piano concerto by Bartok
with perfectly restrained style which resulted in a breath taking middle
movement.
***********************************************************************
16th March 2001 - 7:30pm - Pate's Grammar School Foundation Concert -
Timothy Ingold / Darren Wood
Cheltenham Town Hall, Cheltenham, Glos.
Roger Swann = horn.
The orchestra of Pate's Grammar School sounded magnificent under the
enthusiastic baton of Darren Wood. Students Alison Gott and Kevin Weaver were
particularly impressive in Bach's Double Violin Concerto (BWV 1043) playing
with refined tone, good intonation and precise baroque grace.
The Richard Pate School also featured with both choir and orchestra
being directed in a very varied and polished programme under the direction of
Timothy Ingold.
Cheltenham Town Hall is a beautiful building with the perfect acoustic
for small orchestra works. It was good to see it filled with an appreciative
audience.
***********************************************************************
14th March 2001 - 7:30pm - The Pirates of Penzance - Leicester Gilbert
& Sullivan Society
Little Theatre, Leicester.
Musical Director David Toft added his own few bars here and there to
give further humour to the work. Purists may object but it did set the style
for the whole performance, with all members of the cast taking every
opportunity (and there are many of them) to play for laughs.
Byron Miller's Frederic was performed with strong voice and bulging
tights!
***********************************************************************
7th March 2001 - 7:30pm - FAME - The Musical - Guthlaxton College - MD
Brian Humpherson
Guthlaxton College, Wigston, Leicestershire.
It was good to see a huge casts of young students throwing themselves
wholeheartedly into a theatrical event.
Some fine playing in the band too (especially the violin of Mathew
Gilbert).
***********************************************************************
10th March 2001 - 7:30pm - Rutland Sinfonia - Barry Collett -
Margaret Fingerhut (piano)
Casterton Community College, Great Casterton, Lincs.
Roger Swann = Horn
The Rutland Sinfonia were on top form - enjoying to the full a
typically varied programme with all the Barry Collett hallmarks.
The conductor and orchestra revelled in the delicacy of the Elgar
miniatures (Rosemary, Carissima and Mina).
Margaret Fingerhut has an almost ethereal quality to her touch - and
this was used to the full in spookilly enchanting performance of Ravel's Piano
Concerto in G (a piece which perhaps pushed the Rutland Sinfonia to (or beyond)
their limits). Jane Phillips angelic playing of the harp cadenza also deserves
recognition.
Smetna's Blanik (the last of the six symphonic poems that form "Ma
Vlast") was given a rombustuous rendition (is there any other way?).
The concert ended with the expansion of the band to include four
saxophones who all enjoyed the second jazz suite by Shostakovich. It was
obvious to everyone that John Scott relished the drunken swagger of the waltz
theme when given to the Trombone.
***********************************************************************
7th March 2001 - 7:30pm - FAME - The Musical - Guthlaxton College - MD
Brian Humpherson
Guthlaxton College, Wigston, Leicestershire.
It was good to see a huge casts of young students throwing themselves
wholeheartedly into a theatrical event.
Some fine playing in the band too (especially the violin of Mathew
Gilbert).
***********************************************************************
3rd March 2001 - 7:30pm - COMA-East Midlands - Kieran O'Riordan
The Powerhouse Theatre, Nottingham.
Roger Swann = horn
Kieran O'Riordan's debut as MD of COMA-East Midlands saw the usual
array of world premiers and other typical COMA material.
Particularly successful were the two Stockhausen "Text" Pieces (Japan
and Set Sail for the Sun).
The two compositions by Antony Clare demonstrated his ability to
generate audience friendly music using simple concise notation without
compromising musical integrity.
***********************************************************************
16th Feb 2001 - 8:00 pm - Lincoln Center Jazz Orchestra - Winton
Marsalis
DeMontfort Hall, Leicester.
It was great to see a full house of enthusiastic jazz lovers as a
response to DeMontfort Hall managing to book one of the worlds top Jazz
trumpeters. Winton Marsalis lived up to his reputation - every solo
demonstrated his complete mastery of the tonal variation the trumpet can
achieve. He was breathtaking in both his replication of Louis Armstrong's sound
in the first half of the concert and the precision of some solos that were
clearly his own in the second half.
The whole band played as tightly as a side drum skin and it is a great
pleasure to be able to record the quality (and sensitivity) of Herlin Riley on
the drums.
***********************************************************************
11th Feb 2001 - 7:45 pm - London Sinfonietta - George Benjamin
Queen Elizabeth Hall, London
This evening found the Sinfonietta on absolute top form. Every piece
proved a contrast and every piece demonstrated utter virtuosity across the
entire band.
After a tribute performance of Iannis Xenakis O-Mega, Simon Holts
Lilith showed great textural writing.
Katalin Karolyi was just superb in her singing (?) of Ligeti's Sippal,
Dobbal, Madihegeduvel and was backed by ultra high dexterity from the four
percussionists. This had the audience gasping (and smiling) at every turn.
Angel Gimeno fronted the Violin Concerto by Regis Campo - which had a
distinctly Latin feel and this was followed by the huge combined viola sound of
Genevieve Strosser and Paul Silverthorne (unaccompanied in George Benjamin's
Viola, Viola).
After all this one feared that the UK premier of Ligeti's Hamburg
Concerto might be an anticlimax. Musically it seemed a little fragmented at
first hearing. A small penalty to pay to hear four natural horns playing in
micro-tones and Michael Thompson squealing away in upper registers that
aren’t supposed to exist!
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10th Feb 2001 - 7:45 pm, The Leicester Philharmonic Choir + The
Leicester Symphony Orchestra - Susan Dingle
The DeMontfort Hall, Leicester.
Because of the presence of the large choir the concert was performed
using the stage extension with additional vertical lighting being provided from
a gantry suspended above the first violins and the cellos. This immediately
brings an additional presence to the performance - allowing the orchestra to
communicate more directly with the audience. More amateur orchestras should
consider this format when planning concerts in this large hall.
Rachel Leach was in the audience to hear a competent world premier of
her "The Amortisation of Intangible Fixed Assets". It may have been unwise to
have three movements each structured as an arch rather than considering other
forms - but the two outer movements in particular showed good development of
orchestral colour and the final brooding ominous clouds of the finale were
brought out particularly well by the orchestra. Bravo to Leicester Symphony
Orchestra for the choice of the piece - it was an enjoyable breath of fresh air
amongst some of the more traditional programmes of the recent past.
This was ambitiously followed by Richard Strauss' Death and
Transfiguration. Whilst stretching the band to the limits one couldn't help but
be impressed by the conviction of the playing and the security of Ms Dingle's
direction.
The Phil gave a rousing performance of Carmina Burana - Ten out of Ten
to the Capital Arts Childrens Choir (Kathleen Shanks - director) for precision
and tone. Andrew Mayor (Bass) had a good tone and clear grasp of the style the
piece required.
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4th Feb 2001 - 8:00pm - Richard Fairhurst and the Hungry Ants
Phoenix Arts, Leicester
Another interminably dull drum solo and too much loud drumming
detracted from a gig that had more potential than was realised. Richard
Fairhurst's taste for tunes and harmonies based on the widest ranges of chords
continues unabated. Some tight rhythmical playing by all members. More thought
on dynamic and tonal variation together with considerations of balance would
prove valuable.
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DeMontfort Hall, Leicester
Roger Swann = Horn
The programme started with a rare performance of Franz Reizenstein's
Overture "Cyrano De Bergerac. This proved to be a sweeping canvass of musical
colour mostly achieved by dense orchestration. Some sections had strong echos
of Hindemith (Reizenstein's one time teacher). Other parts swirled almost
uncontrollably in the manner of a bubbly film score.
Elgar's Sea Pictures (with Baritone Jeremy Huw Williams [strange - but
did seem to work]) and Mahler's first symphony completed the concert.
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26th Jan 2001 - 7:15pm - "The Last Supper" (Concert performance) -
Harrison Birtwistle - Glyndebourne Touring Opera.
Queen Elizabeth Hall, London
Birtwistle's music proved as complex and dense as ever and had some
fine dramatic moments. The drama was perhaps not matched by the artificial
style of some sections of the Libretto.
Elgar Howarth seemed completely at ease with the score. Fine singing
from all 14 soloists.
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24th Jan 2001 - 10:00pm - Geoff Overon / Tom Bunny
The Musician, Leicester
The Musician has been open almost exactly a year and it's taken an
excellent Geoff Overon gig to prompt the first visit from your reviewer. The
venue is pleasingly intimate - and features a regular late opening (midnight)
bar.
Tom Bunny and Geoff Overon admitted that they did not regularly work
together - and it was easy to hear whom was most at home in each of the pieces
they (more or less alternately) chose to perform.
Tom Bunny had a big square sound and some viciously aggressive
interpretations of some of the jazz standards.
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13th Jan 2001 - 8:00pm - BBC Symphony Orchestra - Eri Klas
Barbican Hall, London.
Part of the BBC Schnittke weekend.
Gidon Kremer (violin) and Marta Sudraba were absolutely stunning in
both technical expertise and vivacious spirit in Schnittke's Concerto Grosso
No. 2. The BBC Symphony Orchestra matched the soloists every inch of the way
too.
Again the Symphony proved a more tricky piece to get to grips with (see
London Sinfonietta immediately below) but again it was played with a tremendous
range of orchestral colour (as well as actual compositional style). Eri Klas
immediately endeared himself to the whole audience with his fluid conducting
style and uniquely modest stage presence.
The concert finished with the most amusing (K)ein Sommernachtstraum -
sending the audience home both happy and convinced that the many sides of
Schnittke's work required much experience from the listener for them to lie
happily next to one another.
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13th Jan 2001 - 1:00pm - London Sinfonietta - Martyn Brabbins
Barbican Hall, London
Part of the BBC Schnittke weekend.
Clio Gould and Joan Atherton fronted an expanded London Sinfonietta in
a riveting performance of Schnittke's Concerto Grosso No. 1.
His Symphony No. 4 proved a piece with a more complex (or at least
obscure) structure - but included the absolutely stunning counter-tenor voice
of Andrew Watts.
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16th Dec 2000 - 7:30pm - BCMG - Vayu Naidu & Judith Weir
CBSO Centre - Birmingham.
Vayu Naidu's story telling technique is gently but totally captivating.
Supported by some appropriately discrete music (sometimes improvised, other
times courtesy of Judith Weir or Howard Skempton) it made for a delicate but
rewarding evening.
The concert also afforded a second chance to here Ulrich Heinen play
Judith Weir's "Unlocked" for unaccompanied 'cello (see review of 4th
March 00 - 7:00pm CBSO). This proved even more effective in the intimate
surrounds of the CBSO Centre.
The first half was overshadowed by the annoyance of frequent camera
shutter noise (complete with at one stage a dropped tripod?). BCMG and/or CBSO
Centre should never have allowed this intrusion into a first class concert. To
their credit a complaint to "Pete" of the CBSO Centre staff resulted in a
sincere apology and a second half that could be enjoyed without unwanted
interruptions.
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9th Dec 2000 - 7:30pm - Felsham & Gedding Village Hall Christmas
Cabaret
Felsham & Gedding Village Hall, Felsham, Suffolk.
A fine three course meal was accompanied by characteristically stylish
playing of John Casson (Piano), Geoff Pollard (Drums) and Bill Woodbridge
(Bass).
Lyndsey Conquest was as slinky as one dreams Peggy Lee would have been
in "Fever" and Tom Stark made his organ sound like a full brass section when
called on to provide backing punctuation.
Andrew Conquest and Gail Whalley gazed convincingly into each other's
eyes for "Something Stupid" - or were we all taken in by the copious wine?
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8th Dec 2000 - 8:00pm - Vienna Philharmonic Orchestra - Simon
Rattle
Symphony Hall, Birmingham
Haydn Symphony No. 88, Berg's Lulu Suite and Beethoven Symphony No. 5
were all performed with the world class Vienna Philharmonic responding to every
nuance exuded by Simon Rattle.
As a result both the Haydn and the Beethoven were full of subtle tempo
changes and a wide range of orchestral colour.
You can't play Berg without having a wide range of orchestral colour -
but under the expert guidance of Simon Rattle the serial nature of the music
seems completely overshadowed by the ebb and flow of the emotions - and the
climax in the final movement was just magnificent.
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5th Dec 2000 - 7:00pm - Leicestershire Arts in Education Christmas
Concert
DeMontfort Hall, Leicester
A concert featuring some pleasing playing from Junior Strings (Mike
Shaw) and the Junior Band (Gary Koop) and the understandingly more accomplished
Intermediate Band (Paul Bennett / Jo Conquest).
The second half included some graceful Kathak & Bharatnatyam Dance
(Nilima Devi) and a colourful theatrical and musical production based on the
life of Thomas Cook written by Alan Simmons and ably directed by Shirley
Court.
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3rd Dec 2000 - 3:00 pm and 7:45pm - London Sinfonietta -
Oliver Knussen & Paul Zukofsky
Queen Elizabeth Hall, London
Two concerts designed to contrast Copland and Cage as two of the great
American 20th Century composers.
The range of pieces by Copland amply demonstrated how comfortable he
was with intense compact chamber writing. Particularly striking was the Nonet
(1960) for strings and Paul Crossley's interpretation of the Piano Sonata
(1939-41).
Cage again demonstrated his ability to remove all audible references to
musical form in "Ten" (1991). It does mean that the length of the piece appears
to be completely arbitrary - which can really only mean "long".
The 16 dances (1951) proved to be a more effective demonstration of
Cage's ability to pull together different instrumentation into a cohesive
whole.
The London Sinfonietta were top class even without quite being on
absolute top form.
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2nd Dec 2000 - 7:45 pm, HP Sauce, Houghton Singers,
Paternity Players - Proms Concert
Houghton on the Hill Village Hall, Leicestershire.
Roger Swann = Conductor (HP Sauce)
A large and enthusiastic audience enjoyed some stirring singing and
playing. Adele Hull sang "Rule Britania" with grace and grandeur.
The concert also featured a performance of "Paternity" by David Yeomans
which brought out some of it's most effective inter twining of themes.
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29th Nov 2000 - 8:00 pm, Moscow Radio Symphony Orchestra - Vladimir
Fedoseyev
Warwick Arts Centre, Coventry
Owing to some minor administrative hitches it was not possible to get
to the arts centre in time to hear what was by all accounts (of neighbouring
audience members) and outstanding performance of Rachmaninov's third piano
concerto played by Freddy Kempf.
However the Fifth Symphony by Shostakovitch showed the magnificent and
distinctive string sound (very warm yet solid with "square edges" - and all
sections being so close to 100% in tune). The Russian brass instruments meant
that during the climaxes the strings and wood-wind could still be heard -
resulting in much more orchestral colour than is possible when modern western
orchestral brass sections get going and start drowning their colleagues.
It is impossible to resist crediting the timpanist for both an
astoundingly musical understanding of the piece coupled with the most amazing
showman like facial expressions to match every time the head of a timp stick
touched the skin.
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25th Nov 2000 - 7:30 pm, The Millennium Concert
St John The Baptist Church, Hungarton, Leics.
Roger Swann = Horn
Enjoyable range of music played by Ian Imlay and copious wine and food
in the interval meant that everyone was able to overlook the odd blemish when
brass, organ, The Houghton Singers and the audience all combined forces to
attempt Parry's Jeurusalem.
It was good to have a chance to perform Burnet Tuthill's Prelude (Op
51) for Horn and Organ.
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23rd Nov 2000 - 7:30 pm, Fiddler on the Roof - Main Street Theatre
Company (Director Beverley Moffat)
The Village Hall, Great Glen, Leics.
Marvellous staging with copious real wood and a wonderful wooden cart;
especially given the cramped resources of the small village hall.
Sensitive drumming formed the foundation for a tight band - matched by
generally good intonation on the stage. (Musical Director: Bruce Moffat).
***********************************************************************
18th Nov 2000 - 7:30 pm, The Rutland Sinfonia - Barry Collett - Joanna
Burton (sop) + Stephen Godward (bar)
St. Peter's Church Oundle.
Roger Swann = Bass Drum + Tubular Bells (it's a long story)
Joanna Burton + Stephen Godward gave a fine witty performance of
Elgar's infrequently performed "Starlight Express" with Ms Burton's upper
register sounding particularly impressive. Elgar's work has some wonderfully
elegant moments, which (as ever) Barry Collett allowed the Rutland Sinfonia
players to enjoy to the full.
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16th Nov 2000 - 7:45 pm, The Leicester Symphony Orchestra - Huw Gareth
Williams - Caroline Balding (viol)
The DeMontfort Hall, Leicester.
The Leicester Symphony Orchestra brought a good sense of colour to
Rimsky-Korsakov's Sheherazade with Caroline Balding's playing as guest leader
ensuring good intonation on most of the high notes. The flute section played
with delicacy and finesse throughout.
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11th Nov 2000 - 7:30 pm, The Derby Bach Choir (Augmented) - Richard
Roddis
The Assembly Rooms, Derby
Roger Swann = Horn
All three soloists (Julie Moffat (sop), Martyn Hill (ten) and
Christopher Maltman (bass)) shone above a technically competent but perhaps
slightly soul-less performance (hindered as ever by the Assembly Rooms
uncomfortably dry acoustic) of Britten's War Requiem.
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29th Oct 2000 - 12:30 pm, Geoff Overon and The 'A' Squad
The Phoenix Theatre Café/Bar - Leicester.
Geoff Overon the showman and fine blues guitarists using old jokes,
belying fine guitar technique and stylistic turns of phrase. As ever Stan
provided precise, ultra-tight, yet lively backing as rhythm guitar of the 'A'
squad.
As good a way to spend a Sunday lunch time as you can find in
Leicestershire.
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DeMontfort Hall, Leicester
Holiday commitments meant that the reviewer was able to enjoy the Bardi
Symphony Orchestra from the front of the hall instead of the more frequent
position in the horn section. The strings sounded splendid playing Beethoven
and Brahms (with a particular strong 'cello section). Mark Penny played the
horn solo in the 3rd movement of Brahms' Third Symphony with a warm
romantic tone.
Nikolai Demidenko's interpretation of Beethoven's Emperor Concerto was
full blooded (perhaps too full blooded?) but the orchestra failed to match the
soloist's magnitude of brashness in the fortissimo tutti passages. The result
was a slightly disjointed overall picture.
The concert started with a performance of Anthony Payne's "Half-Heard
in the Stillness". This had been intriguingly advertised as "The Secret
Ingredient" - an imaginative marketing idea. Unfortunately the piece showed up
some of the weaknesses of the orchestra with some timid entries failing to give
precedence to what underlying shape might exist in the work. The members of the
heavy brass alone shone as a section. However the idea of performing
contemporary repertoire is worthy of applause - and perhaps the orchestra will
produce more exiting performances of modern works as individual members become
more accustomed to what for many is still very unfamiliar territory.
***********************************************************************
15th Oct 2000 - 7:00 pm, City of Peterborough Symphony Orchestra -
Norman Beedie
The Cresset, Peterborough
Roger Swann = Horn
A very ambitious programme! The 1812 overture did feature precise
rhythmical cannons - something that is rarely achieved in amateur
performances!
Melanie Marshall shone as the Soloist in John Rutter's "Feel the
Spirit" (written at the invitation of the CPSO). She brought exactly the right
negro soul to the spirituals - and just about managed to avoid over
sentimentality - even though the score featured an overdose.
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14th Oct 2000 - 7:30 pm, Helix Ensemble - David Curtis
Music Studio, Loughborough University
Roger Swann = Horn
David Curtis directed the ensemble using a relaxed yet very clear
rhythmical approach. This allowed players to play freely - of particular
benefit in the rousing performance of Schoenberg's Chamber Symphony Op 9.
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2nd Oct 2000 to 7th Oct 2000 - 7:30 pm, "Guys
& Dolls" - I.D.O.L.S - MD David Calow
Little Theatre, Leicester.
Roger Swann = Horn
Good leads in all the main roles - all of whom developed their
characters further as the week progressed. Reliable conducting by David Calow
helped a competent band provide some lively support for the cast.
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30th Sept 2000 - 7:30 pm, Rutland Sinfonia - Barry Collett - Geoffrey
Saba (piano)
Casterton Community College, Great Casterton, Lincs.
Roger Swann = Horn
Rimsky-Korsakov's Overture from "The Tsar's Bride" was a colourful and
atmospheric start to a typically wide ranging Rutland Sinfonia programme. The
strings sounded polished under the guest leadership of Elizabeth Ovenden.
Geoffrey Saba's ability to play a lot of notes in a short space of time
came to the fore in the Hungarian Fantasy for piano and Orchestra by
Liszt.
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22nd Sept 2000 - 8:00 pm, Chamber Music Concert
Braunstone Civic Center - Braunstone, Leicester.
An evening presented by Leicester Symphony Orchestra following their
AGM.
Caroline Balding, accompanied by Ronan Majill, boldly went for RVW's
Lark Ascending with piano accompaniment in a very dry acoustic - and experiment
which perhaps didn't quite come off.
Alessandra Testai sung with style, tone and charm and made the hall
sound the perfect place for a singer. She was very sensitively supported by
Richard Black on the piano and together they almost made you believe their
claim that M Castelnuovo Tedesco (1895 - 1968) should rightly have been one of
the 20th Centuries best known composers.
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