Positive Points about Selected Concerts - 2004/05
***********************************************************************
6th Sept 2005 - 9:00pm - Sy & Sangeet
The Coach & Horses, Kedleston Road, Leicester
An evening of Bollywood style music from Sy & Sangeet, backed by
two percussionists and a keyboard player. A very enjoyable example of the asian
"meandering" high voice from the leading lady in this band of mysterious
origins (the landlord of the Coach & Horses claimed they were on tour from
Gujarat in India but the card they gave your reviewer had a Bolton, UK
telephone number...).
***********************************************************************
4th Sept 2005 - 3:00pm - Welbeck Estate Brass Band
Riverside Park, Belper, Derbyshire
The quintessential british summers afternoon: - ice cream in hand,
sunshine overhead and an enthusiastic audience (with others enjoying an
afternoon nap) enjoying some pleasent tunes played by a band with a good range
of ages represented. The (unnamed) conductor specialised in inaudible
introductions but there was a tribute to Beryl, whose birthday it seemed to
be.
(Photograph: Sue Pike)
***********************************************************************
27th Aug 2005 - 7:30pm - BBC Prom 57 - World Orchestra for Peace-
Valery Gergiev
Royal Albert Hall, London
The World Orchestra of Piece, consisting of hand picked players drawn
from the worlds leading orchestras (the orchestra included no less than
thirteen leaders/concert masters), is always going to sound occassionally
unsettled. One got the impression that they enjoyed the challenge of playing as
an ensemble in spite of the varied backgrounds of the players. All the solo
passages were immaculate (for example the fiendish picollo solo in Rossini's
William Tell overture, the breathtakingly (literally!) smooth pianissimo flute
solo in Debussy's L'apres-midi d'un faune and the perfect flowing solos from
all the woodwind at different times in Rimsky-Korsakov's Sheherazade. The odd
moment of less than perfect precision in the strings tended to be greeted with
smiles within the band rather than aggressive glaring.
As ever, Valery Gergiev's interpretations were striking - well thought
out, carefully paced with wide changes of mood (achieved with the help of
equally wide ranges of dynamics). One has to question the wisdom of lining the
heavy brass (and my, were they heavy) directly facing the audience in an
elevated row at the back of the orchestra. Some moments of glorious
orchestration were drowned in accurate but unsubtle brass chords as a
result.
It was good to see Erik Chapman in the first fiddles (representing the
Royal Philharmonic). Erik has been a regular guest leader with the Bardi
Orchestra for a good number of concerts and has always provided valuable input
to the Bardi rehearsals and concerts in this capacity.
***********************************************************************
13th Aug 2005 - 7:30pm - The Barkham Harp Quartet
Holy Trinity Church, Long Melford, Suffolk
The enterprising Long
Melford Music Society presented these remarkable four ladies in their
beautiful Holly Trinity Church, happily coinciding with an exhibition of
paintings (oils and water colours) by members of the Suffolk Art Society -
which led to an enjoyable meander during the interval.
The Barkham Harp Quartet played with a delightful fluency, the
combination of four harps sounding far from dull in their (eight) hands. Their
program relied on a variety of quality music, rather than gimics, to keep the
audience enthralled. It included two pieces written by members of the quartet.
Harriet Adie's Sun, Moon & Stars - A Middle Eastern Sky, using oriental
tonality to conjure up an image of "relentless sun" was excellent and Eleanor
Turner's Butterflies Autumn stretched the concept of tonality still further
without ever sounding pretentious.
Concluding with Edward Longstaff's tricky Saraswati with large
sections relying on minimilist techniques (a format that seems to serve the
harp quartet rather well) this rounded off a fascinating concert with the
perfect flourish.
***********************************************************************
2nd Aug 2005 - 10:00pm - BBC Prom 26 - London Sinfonietta - London
Sinfonietta Voices - Diego Masson
Royal Albert Hall, London
The London Sinfonietta know Weil's Kleine Dreigoschenmusik backwards
and this must have helped Diego Masson achieve his very restrained, polished,
sophisticated interpretation. Such refinement meant that the obvious enjoyment
of the banjo player (James Woodrow) and accordian player (Ian Watson) came
through audibly as well as visually.
Berio's Coro proved a massive undertaking. Full marks to the BBC Proms
for programming the piece with it's 40 voices, each individually paired with
one of forty Sinfonietta musicians. This large canvass was not always
successful - the balance of individual voices seemed uneven at times and the
four violas appeared to be playing with accuracy and verve but were completely
inaudible for much of the time (through no fault of their own).
Whilst the concert was digital watch / mobile phone free there was some
annoying disturbance way off at the back during some of the breaks in the Weil
- The BBC / Albert Hall need to take steps to ensure that this source of noise
is located and dealt with!
***********************************************************************
15th July 2005 - 7:00pm - BBC Prom 1 - BBC Symphony Orchestra - Sir
Roger Norrington - Janine Jansen (violin) - Indra Thomas (sop) - Christine Rice
(mezzo) - Ian Bostridge (tenor) - Sir Willard White (bass)
Royal Albert Hall, London
The opening concert of the ever wonderful BBC Proms season had an air
of expectation of great things to come paired with a fittingly sombre tone as
the concert was dedicated to the memory of the victims of the London bombings
of 7th July 2005.
Janine Jansen gave a very special performance of Mendelssohn's Violin
Concerto in Emin - choosing to play in her own dynamic (and expressive)
framework. From the back of the cavernous hall (or worse, the gallery) her
restrained touch may have sounded weak and uninteresting but from your
reviewer's usual Albert Hall position, promming just to the right of the
fountain (although sadly the fountain had been replaced by a TV camera stand),
it sounded refined and polished yet still carried the wide range of emotions
appropriate to this wonderful piece.
Four top class soloists, an orchestra on fine form throughout and the
BBC Symphony Chorus in full swing meant that Tippett's A Child of Our Time
sounded every inch the masterpiece that it is. There was a missing 1 percent
though - surely due to the performance being directed by the owner of one of
the most unhelpful baton techniques in the conducting business today. There was
one note where the normally uneeringly accurate Christopher Hind on timps hit
the drum head well ahead of the rest of the band - but if you saw the
unbelievably vague downbeat at that point you could have nothing but sympathy
for the drummer. One was just awe inspired that the orchestra were able to play
together at all - full credit to Stephen Bryant (leader).
***********************************************************************
14th July 2005 - 7:00pm - COMA East Midlands - Kieran O'Riordan -
Guest: Sarah Watts (bass clarinet)
Courtyard Theatre, Clarendon College, Nottingham
Roger Swann = Horn
A typically varied COMA concert - both in terms of pieces represented
and quality of playing. Five pieces written by ensemble members were
complimented by the world premier of Amy Whitwam's On the Ning Nang Nong, a
piece written especially for the group and inspired by the poem by Spike
Milligan. The clever matching (or miss-matching) of voices, clapping and
instruments producing a musical equivalent to the similarly eccentric mind of
the great comedian.
Special guest Sarah Watts stole the show with her charismatic
performances of pieces by Marc Yeats (whereto my wishes lie), Jo Sporck (Burst
in Blue) and the ensemble's ever enigmatic Antony Clare (The Yew Ritual).
Sarah's bass clarinet technique was top class throughout the [extensive] range
of the instrument - making you wonder why we need the common B flat/A clarinet
at all.
***********************************************************************
2nd July 2005 - 7:30pm - The Helix Ensemble - Ken Woods
Emmanuel Church, Loughborough, Leics.
Roger Swann = horn
A classic example of Charles Ives - his Symphony No 3 "The Camp
Meeting" (1904) - deserved the attention Ken Woods gave to balance and ensemble
tuning, allowing all the snippets of melody to come out of the "organised
chaos" that Ives was a master of.
Ken Woods' interpretation of Barbers Adagio for strings was powerful,
almost aggressive. A far cry from the bland "Classic FM" style that this piece
so often attracts. The work was underpinned by some perfect intonation in the
'cellos and bass section (actually this was notable throughout the
concert).
Concluding with Walter Piston's Sinfonietta, the last movement of which
is the complete antithesis to Ives, requiring (and for the most part getting)
crisp, tight precision rhythmic playing, this was a good example of a varied
programme of little known gems - a style of programming that has become the
hallmark of the Helix Ensemble.
***********************************************************************
26th June 2005 - 7:00 pm - Leicester Arts In Education Summer Concert
(Training Orchester - Andrew Bound / Intermediate Orchestra - Jo
Conquest).
The Civic Hall, Bedworth.
Not many concerts start with Moussorgsky/Ravel's Pictures at an
Exhibition ! Andrew Bound got some amazing results from his group of young
players - including an excellent saxophone solo and some tidy harp
playing.
Jo Conquest's programme choice was equally challenging for the young
players of the Intermediate Orchestra. Ellen Quinn ('cello) played the tricky
opening extended solo in Rossini's William Tell Overture without any signs of
nerves and this set the standard for the rest of the orchestra's first
set.
Following the interval the Intermediate Orchestra let their hair down a
little with some good swing in a Calvin Cluster arrangement of Beatles numbers
(I wonder how many of the youngsters have actually heard the originals (or seen
a "45")? They ended with a selection from Porgy and Bess which included some
accurate playing of dynamics (a particularly good FP on the chord bringing the
piece to a close).
It was good to see Hannah Nisbet conducting the Training Orchestra who
then went on to play music from Lloyd-Webber's Phantom of the Opera with a
fuller string sound than most west end show bands muster! There was some good
tight percussion playing too.
***********************************************************************
25th June 2005 - 7:30 pm - Nottingham Philharmonic Orchestra - Jaques
Harry Cohen
Southwell Minster, Southwell, Nottinghamshire
Roger Swann = horn
Your reviewer was able to sample the Southwell Minster accoustic from
the rear of the venue for the first half of the concert (Schubert's Unfinished
Symphony). The sound is suprisingly clear. Jacques Cohen is comfortable taking
liberties with the tempo and his attention to detail was omnipresent (The
gentle fade on the main 3 minim subject of the second movement, every time it
occurred, being a case in point).
The second half was Bruckner's majestic Symphony No. 9 (also
unfinished). It is difficult to imagine a more fitting setting to perform this
magnificent symphony. Jacques Cohen took the unusual step of introducing the
piece to the audience, including playing orchestral excerpts, prior to the
complete performance. His delivery was clear and lucid and revealed a sound
knowledge of the inner workings of the symphony as well as an obviouse
enthusiasm for the composer. This came across in the inspired playing of the
orchestra too.
Well played the wagner tuba section (Stuart Bower, Richard Madin,
Robert Parker and Julian Haslam)!
***********************************************************************
24th June 2005 - 8:00pm - Robert Cray Band (supported by Ray
Bonneville)
Royal Concert Hall, Nottingham
Some tidy guitar playing by Ray Bonneville warmed the audience up for
Robert Cray's very tight line up. Robert Cray sings with spectacular clarity,
faultless intonation (an aspect he and bass player Karl Sevareid pay a great
deal of attention to) and searing expression. He's at his best when holding
back on the dynamics and letting the lyrics speak for themselves.
Jim Pugh shone in his important witty solos on blues organ.
***********************************************************************
18th June 2005 - 7:45pm - Houghton Music Club Barn Dance - 3sticks -
Chris Jewell (caller)
The Village Hall, Houghton on the Hill, Leics
Roger Swann = licensed bar manager
Jenny Newman + Andy Glass [AKA 3sticks] have the knack of playing jigs
and reels (together with the odd number in 3/4 time) all night - mixing
traditional and original material - without ever sounding tired or
tiresome.
Chris Jewell was especially good as caller, being patient and
humourous, and also giving us the pleasure of a tricky little set of moves for
one dance which he proudly informed us was "invented by his father".
***********************************************************************
17th June 2005 - 7:30 pm, Phil Houghton (Viola + Violin) - Gail Hobbs
(piano)
Fraser Noble Hall, London Road, Leicester
Phil Houghton chose an uncompromising programme for his receital - even
the encore (an arrangement of a Scottish borders folk tune by Rebecca Clarke)
was more wistfull rather than jolly. If this made of an event where
concentrated listening was required the rewards of such attention were
many.
In Rebecca Clarke's Morpheus the duo captured some of the translucent
style of Debussy (perhaps especially in the piano writing). Shostakovich's
final completed work, the Sonata for viola and piano, was full of intense
emotion.
***********************************************************************
16th June 2005 - 7:00 pm, Soiree Programme - Pupils of Water Leys
Primary School
Water Leys Primary School, Wigston, Leics.
Roger Swann = horn (in guest wind quintet)
Water Leys Primary School has a fine reputation for it's annual "Soire"
- partly due to the generous supply of wine and nibbles (bar run by the PTA)
but also due to the pleasure of listening to youngsters of all standards puting
their instruments through their paces.
It's good to hear plenty of young fiddlers (too many to name). Jack
Shepherd made a fine job of "Yankee Doodle" on unaccompanied cornet.
***********************************************************************
11th June 2005 - 7:30pm - The Bardi
Symphony Orchestra - Carlton Woods - Bobby Chen (piano)
DeMontfort Hall, Leicester
Roger Swann = horn
John Corigliano's "Voyages" for strings demonstrated the strength of
the Bardi string section. The atmospheric opening was perfectly judged by the
solo violin trio, leader Adam Summerhayes and his collegues David Davies and
Nan Ingrams. A similar passage later in the piece for three violas was equally
effective (Philip Houghton, Sally Smith and Jenny Austen). Playing unusual
repetoire native to the guest conductor is exactly what the Bardi Orchestra
should be doing and this performance was clear proof of this. Carlton Woods
suggested that on his next visit the whole orchestra takes on Corigliano's
Symphony No. 1. What a treat for everyone (both players and audience) that
would be.
Bobby Chen's agile account of the second piano concerto by Shostakovich
was followed by an extract of Stravinsky's colourful piano version of the
Petrushka score, played as a well deserved encore.
Carlton Woods' interpretation of Dvorak's 9th Symphony (New World) uses
a wide range of tempos which to some extent injected some life into this
frequently played work. Capitalising on the stronger than usual bass section,
he brought some welcome aggression to the opening of the third movement.
***********************************************************************
30th May 2005 - 7:45pm - The Charnwood Orchestra - Nic Fallowfield -
Bartholomew LaFollette ('cello)
St Mary's Church, Haddington, Scotland
Roger Swann = Horn
A repeat of yesterday's concert in the accoustically more favourable
church in Haddington in which the orchestra played with more technical accuracy
inspite of some serious late night "post concert de-briefing" in the welcoming
bar of the Hotel Argus the night before.
Enjoying the economic style of Nic Fallowfield's conducting, your
reviewer was struck by the way that such an approach encourages the
personalities of individuals of the band to come through in their playing. So
whilst the result may not match that achieved by more illustrious ensembles
(the Scottish Chamber Orchestra play at St Mary's Church on occasion) it does
at least have a "unique" stamp to it. And it is the existance of such "styles"
that makes live music making the pleasure that it is.
***********************************************************************
29th May 2005 - 7:45pm - The Charnwood Orchestra - Nic Fallowfield -
Bartholomew LaFollette ('cello)
Greyfriars Kirk, Edinburgh, Scotland
Roger Swann = Horn
Bartholomew LaFollette gave a very assured performance of the Cello
Concerto by William Walton, a work that is as demanding in it's enigmatic
musical content as it is technically. At only 21 years of age the soloist
seemed remarkably at ease with both challenges.
The cavernous accoustic of Greyfriars Kirk church was filled with
exuberent playing in Tchaikovsky's Pathetique Symphony. Conducting without a
score, Nic Fallowfield relaxed (just a tiny amount) the tempo of the 5/4
movement from that used during the rehearsals and the result was a very
flowingly phrased account.
***********************************************************************
26th May 2005 - 7:45pm - The Leicester Symphony Orchestra - Russell
Keable
DeMontfort Hall, Leicester
It was great to hear the LSO play Oliver Knussen's "Flourish with
Fireworks". This is a perfect concert opener being short and ending with a
final flourish that the orchestra brought off to perfection. The precision of
the heavy brass chords [jabs !] was striking as was the relish with which the
percussion section enjoyed Knussen's exotic orchestration. Russell Keable's
very accurate beating significantly aided the effectiveness of the whole work.
The concert finished with Saint Saens "Organ Symphony" (No. 3 in C
minor). Any opportunity to hear the De Montfort Hall organ in action (organist:
Richard Archer) is always warmly welcomed.
***********************************************************************
21st May 2005 - 7:30pm - University of Leicester Sinfonia - Michael
Sackin - Yuri Kalnits (violin)
Holy Trinity Church, Leicester
Roger Swann = Horn
Remarkably assured playing from the guest soloist Yuri Kalnits was the
evening's talking point. In his very early twenties he already seems completely
at ease with the technical demands of the Brahms violin concerto and took a
deliberately relaxed attitude to tempos to give a very fluid
interpretation.
***********************************************************************
18th May 2005 - 7:45pm - The London Sinfonietta - George Benjamin
The Queen Elizabeth Hall, London
Classic example of a London Sinfonietta concert - four very different
pieces all played immaculately.
Beat Furrer's "Still" had many close to silent moments - using
individual instruments for much of the piece and copious periods where wind
players just blow air through their instruments rather than playing an actual
note. This must have been challenging for the BBC "Here and Now" recording
engineers.
Cantatrix Sopranica by Unsuk Chin showed the influence of one teacher
Ligeti. She has definitely a similar ear for humour. The witty moments were
helped by theatrical singing from all three soloists (the two Finish sopranos
Anu and Piia Komsi and the quite remarkably powerful countertenor, Andrew
Watts).
It was fascinating to hear the conductor change rolls to that of a solo
pianist when he played his own composition "Shadowlines". His adept technique
was used to the full - and the sections where the right hand was bashing out
the treble in a way that would make Stan Tracey sound like Oscar Peterson
whilst the left hand simultaneously played a gentle smooth peaceful
accompaniament were great.
George Benjamin's conducting technique proved a match for his pianism
as he directed some strikingly tight playing from the ensemble in Pierre
Boulez' "Eclat/Mulitples".
***********************************************************************
14th May 2005 - 1:00pm, (repeated at 3:00pm and 5:00pm) - COMA East
Midlands - Kieran O'Riordan
Lady Bay Open Studios Weekend, All Hallows Halls, West Bridgeford,
Nottingham
Roger Swann = Horn
COMA East Midlands provided the musical complement to the wide range of
(high quality) art on display as part of the
Lady Bay Open Studios
Weekend. As well as items drawn from the COMA library the ensemble
performed three items composed by members of the group: Belinda Burnard's
"Nightlight from my Skylight" [some abrupt changes of mood (and some very low
horn writing)], David Machell's "3 Celebrity Chefs" [particularly seductive
middle movement titled "Nigella Lawson"] and the prolific Anthony Clare's "The
Holly" [wildly unseasonal destruction of "The Holly and The Ivy"].
The group also improvised music to acetates produced by visitors to the
arts festival workshops earlier in the day. Some slides proved more musically
provocative than others - it would be interesting to learn of the reaction of
the artists to the improvosiations there work inspired.
***********************************************************************
7th May 2005 - 7:30pm - Houghton Music Club Choral Workshop - I Postini
- Anselm Kersten
Houghton on the Hill Village Hall, Leics
Roger Swann = conductor ("Five Philosophies")
The culmination of a very enjoyable days singing under the enthusiastic
and encouraging baton of Anselm Kersten (It can't be every day of the week that
a section of Handel's Coronation Anthems is described as being "like a pack of
dingo's kidneys").
Inevitably the concert had it's moments (both good and bad). The
intonation and line in the altos was the strongest point of the choir.
Its great to be able to record that the concert started with the second
performance of your reviewer's "Five Philosophies" played with great
understanding by I Postini members Peter Handford (viola), Peter Smith (bass),
Philip Belben (bassoon), Simon Marshall (horn) and Bob Meikle (timps).
***********************************************************************
3rd May 2005 - 7:45pm - The Knot Garden - Royal Opera / Music Theatre
Wales
The Linbury Studio, Royal Opera House, Covent Garden, London.
This is joint initiative between the Royal Opera and Music Theatre
Wales using Meirion Bowen's chamber orchestra reduction of Tippett's score.
Even in the intimate surrounds of the Linbury Studio the orchestra at times
overwhelmed the (strong) singers - one wonders how the original (full
orchestra) version would work !
Jeremey Huw Williams (Mangus) demonstrated particularly clear diction -
and the scene at the end of the first act where everyone's "hang ups" come to
the surface was a good moment.
The production made extensive use of video backdrops (designed by Jane
& Louise Wilson) - an interesting follow up to discussions on the use of
images with music (see reviews below). The screens were certainly acting as
more than "low cost scenary".
***********************************************************************
30th April 2005 - 7:30pm - Proteus Orchestra - Anthony Pither
St James The Greater Church, Leicester.
Roger Swann = horn
Anthony Pither chose to mark his imminent retirement as Director of
Music at the University of Leicester with a performance of Bruckner's majestic
eighth symphony. Choosing the contrasting eighth symphony of Beethoven for the
first half of the concert allowed him to demonstrate, yet again, his wide range
of musical taste and expertise. Having had the wisdom to appoint Anthony
twenty-one years ago it appears (from the outside at least) that Leicester
University have since then consistently undervalued his considerable qualities
as a teacher, researcher, composer and academic (but by no means "straight
laced") musician.
Of the many good points about the concert one must record the
contribution made by the four Wagner Tubas (Robert Parker, Gill Colley, Simon
Marshall and Peter Dyson) Their ominous renderings of Bruckner's atmospheric
exposed writing was breathtaking.
On a more practical basis Hugh McLaren (timps) provided some much
needed rhythmic security around several tricky corners, where other members of
the band let their enthusiasm get the better of them.
***********************************************************************
19th April 2005 - 7:30pm - Knighton Chamber Orchestra - Paul Jenkins -
Christine Taylor (clarinet)
The Fraser Nobel Hall, Leicester University, Leicester.
The highlight was Dai Parr's ebullient and vigorous double bass solo in
Stavinsky's quixotic Pulcinella Suite. Another was the crisp fruity
Semillon-Chardonnay from Argentina available in the interval.
***********************************************************************
18th April 2005 - 7:30pm - Eddie Lenihan
Storytelling Cafe, Loughborough Town Hall, Loughborough, Leics.
Eddie Lenihan telling us about the dangers of messing with the fairies
in Ireland in his inimitable fashion (no man on the planet uses the word "but"
with such variety of purpose).
***********************************************************************
16th April 2005 - 7:30pm - Leicester CoOperative Male Voice Choir +
Guests - Paul Jenkins
St Philip and St James Church, Ratby, Leics.
An enjoyably weighty (and no doubt signifcant) emphasis on the word
"sex" in "There is nothing like a dame" brought the choir (and at least one
member of the audience) to life. The choir were definitely performing with more
panache in the second half.
Special guest Jo Conquest (flute) caused a stir by atmospherically
playing Debussy's The Syrinx in pitch darkness.
***********************************************************************
13th April 2005 - 7:00pm - Gartree School Spring Concert - Jenny
Brooks
Gartree High School, Oadby, Leics.
Flowers (both real and made from paper) and balloons immediately
created a happy atmosphere, which was sustained throughout this informal
concert given by various ensembles and soloists from Gartree School under the
direction of Jenny Brooks - ably assisted by Mr Williams.
Especially enjoyable were the solo spots - particularly those by the
strings: Tharshiya Lingham (violin), Louise Balkwill (violin) and Emily
Marshall ('cello).
It does indicate what a state the country's education system is in when
Mr Williams has to conclude the event with an impassioned (on might add
"desperate") plea for donations just to keep his music department going.
***********************************************************************
9th April 2005 - 3:00pm - Gotterdammerung - English National Opera -
Paul Daniel
The Coliseum, London
The final installment of ENO's Ring Cycle - and the winner must be
Wagner's amazing score. If Phyllida Llyod's production didn't always make sense
(rem: The libretto does seem to be full of contradictions in any event) it
certainly was colourful and thought provoking: A good ten minutes of your
reviewer's post-show discussion was taken questioning whether the bears head
was supposed to come off.....
Richard Berkeley-Steele made an excellent Siegfried - young trendy and
not quite aware of the treachery going on around him. Kathleen Broderick is the
ultimate example of the power and control that can be generated by conditioned
breathing technique. The sustain she achieved with her far from Wagnerian body
was first class.
ENO need to accept that opera is dramatically more effective if sung in
the original language with surtitles. It needs to move in this direction if it
is to continue to attract audiences.
***********************************************************************
8th April 2005 - 7:30pm - Sinfonia ViVA - Nicholas Kok - Ian Fountain
(piano)
Loughborough Town Hall, Leics
Sinfonia ViVA brought a programme of standard (but quality) repetoire
to the releatively recently refurbished Loughborough Town Hall - who should be
commended for their efforts to bring culture to Loughborough.
Sadly the hall really is very unsuited to classical music - the
accoustic is very dead and the balance within the ensemble was very poor and
the addition of the piano only served to increase this effect (with woodwind
solos barely audible in the Beethoven). One assumes Nicholas Kok was aware of
this difficulty and did his best to compensate (could he have considered
placing the piano within the orchestra?). Ian Fountain made the best of what
sounded like a low quality piano.
Any orchestra is going to struggle in this venue. How about Sinfonia
ViVA playing in Loughborough's Emanuel Church?
***********************************************************************
1st April 2005 - 8:00pm - Wozzek - Welsh National Opera - Vladimir
Jurowski
Birmingham Hippodrome, Birmingham, West Midlands
WNO resisting the urge for some obvious product placement sponsorship
from Heinz with tins of beans being used throughout the production as an
synonym for all of Wozzek's troubles. There were some neat subtle reflections
of the music in the acting / choreography of the cast.
Berg's writing for high soprano voice is always a treat and Gun-Brit
Barkmin (Marie) handled her demanding role effortlessly.
***********************************************************************
31st March 2005 - 7:30pm - The Richard Roddis Singers - Richard
Roddis
St Mary the Virgin Church, Wirksworth, Derbyshire
This small group of talented singers could be the amateur equivalent of
the BBC Singers - singing a whole evening unaccompanied and never giving the
impression of loosing pitch is in itself a fine achievement.
There were some particularly striking chords in the Messa di Requiem by
Ildebrando Pizzetti - a curious but effective mixture of styles. The resounding
climax in the central Sanctus was a great moment.
The cold church (failed heating system) had a surreal background noise
(fan?) sounding like tropical ciccadas and the disorientation was further
enhanced by the choir singing amongst a small pile of rocks (apparently
representing the events of easter) next to a hat stand complete with hat and
coat (apparently not representing anything!). It's always good to find
different ways of presenting music.
***********************************************************************
19th March 2005 - 7:30pm - The Bardi
Symphony Orchestra - Claus Efland - Adam Summerhayes (Violin)
DeMontfort Hall, Leicester
Roger Swann = horn
A successful repeat of the programme the Bardi Orchestra played two
weeks ago in Bedworth but this time with the regular leader (Adam Summerhayes)
of the orchestra taking on the role of soloist.
He played the Bruch Violin concerto beautifully, getting a wonderful
sound from his fiddle throughout the range and not being frightened of a bit of
sentimentality in the slow movement. His performance was helped by some equally
well phrased legatto motifs from members of the orchestra, particularly Sarah
Hodnett (flute) and Mark Penny (horn).
***********************************************************************
17th March 2005 7:45pm - Houghton Music Club Concert
The School Hall, Houghton-on-the-Hill, Leics
Roger Swann = Conductor (HP Sauce)
The Houghton Philharmonic Symphonic Assembly Using Children and Elders
played to a packed house (in almost tropical temperatures) and managed to
achieve some pleasing phrasing in a suite from Handel's Water Music.
The primary school choir directed by Tony Bentley enlightened everyone
with an explicit rendering of "Ilkely Moor Ba'a't'at".
***********************************************************************
16th March 2005 - 7:30pm - The Lindsays
The Fraser Nobel Hall, University of Leicester
The final concert in Leicester by the Lindsays as the group prepare to
disolve (the programme helpfully explains that "the group wish to create space
to explore other avenues") was over subscribed. Disappointed concert goers
missed a concert typical of the Lindsays qualities with many enjoyable moments
from all four individuals, particularly in the Beethoven C sharp minor quartet
Op 131.
Their contribution to chamber music in Leicester will be greatly
missed.
***********************************************************************
12th Mar 2005 - 5:00pm - Die Walkure - The Royal Opera
The Royal Opera House, Covent Garden, London
A true test for a reviewer's superlatives (which will end in failure).
Bryn Terfel's Woton, sung with power and conviction, was amazing enough but was
exceeded by his overall characterisation. This was Woton where the audience
felt for his predicament at every turn.
This quality of acting was matched by a frighteningly powerful yet
still femininely fragile Fricka (Rosalind Plowright) and a painfully
traumatised Sieglinde (Katarina Dalayman).
The band were perfect too (conducted by Antonio Pappano) and a
production which leads to a perfectly pitched Brunnhilde (Lisa Gasteen) being
circled by real 500mm high flames deserves special mention too.
In short this was a night you wish anyone who questions "how one can
sit through Wagner" could have seen. Wow!
***********************************************************************
11th Mar 2005 - 7:45pm - The London Sinfonietta - Martyn Brabbins
The Queen Elizabeth Hall, London
Here was a rare example of a very effective combination of film image
and live music. Michael Gordon's "Gothom" was written specifically for Bill
Morrison (film) and Laurie Oliner (stills) to add image to. A task that they
rose to with skill, visual flexibility and clear musical understanding. One
felt that both music and images benefited from the presence of each other and
enjoying the mutual interaction of the two medias was in itself an enjoyable
experience.
Jackie Shave (guest leader) steered some fine playing through
treacherous passages.
***********************************************************************
5th March 2005 - 7:30pm - The Bardi
Symphony Orchestra - Claus Efland - David Fruhwirth (Violin)
Bedworth Civic Hall, Bedworth, Warks.
Roger Swann = horn
Clause Efland's debut with the Bardi showed his emphasis on string tone
bringing good results. He really knew how to encourage the strings to give a
solid full tone (at different dynamics) where required.
It was good to play an encore (much better than endless applause and
bowing) and the Galop "Salut for August Bournville" by the Danish composer H.
C. Lumbye was the perfect choice of piece.
***********************************************************************
3rd March 2005 - 8:00pm - The City of Birmingham Symphony Orchestra
-Manfred Honeck
Warwick Arts Centre, Coventry
The whole programme was given over to Bruckner's majestic 8th Symphony.
A spectacularly pianissimo opening set the mood and there were several other
magical pianissimo moments throughout the piece.
Full marks to the gentlemen grappling with the Wagner Tubas and
achieving excellent results.
***********************************************************************
1st March 2005 -8:00pm - The Moscow City Ballet - Cinderella
DeMontfort Hall, Leicester
The arguements can rage about the ethics of importing Eastern theatre
groups to perform "traditional" stagings of opera and ballet in the UK under
ridiculous touring conditions for equally ridiculous rates of pay - but the
fact remains that this does get classical ballet to the provinces.
Some of the dancing was colourful and some of the characterisation was
noticable. Prokofiev's score is glorious and the smallish orchestra (conducted
by a distinguished looking Igor Shavruk) did their best.
***********************************************************************
26th Feb 2005 -7:30pm - Orchestra and Chorus of the Mariinsky Theatre -
Valery Gergiev
The Nose - Shostakovich Op 15 (Concert Performance)
The Barbican Hall, London
Top quality playing and singing throughout - surely this is the way to
hear Shostakovich? Yet your reviewer found himself regularly chuckling at the
absurdities of the plot (or rather the English translation presented as
surtitles) even though Shostakovich is reported as saying "You can read The
Nose like a joke, but you can't stage it as one. It's too cruel, and most
important, it won't fit the music. [Testimony - The Memoirs of Shostakovich as
edited by Solomon Volkov].
The full house certainly [rightly] appreciated the singing and
characterisations of all the (very many) solo roles.
***********************************************************************
24th Feb 2005 - 8:00pm - The Britten Sinfonia - Piere-Andre Valade -
Ernst Kovacic (Violin)
Warwick Arts Centre, Coventry
The thrust of this SPNM concert was "innovative" presentation - with
lighting effects throughout and the composers voices being piped through the
public address system prior to each half. One applauds the attempt to get away
from a "come on in evening wear - play - go off" format - even though not all
of the results can be regarded as effective.
Some fine playing from six soloists drawn from the Britten Sinfonia for
James MacMillan's "The Road to Ardtalla" brought out a wide range of textures.
MacMillan's skill at orchestration was even more apparent in "I (A Meditation
on Iona)".
Jackie Shave (leader) made an impact throughout - her harmonising
passages with soloist Ernst Kovacic in Deirdre Gribben's violin concerto "Venus
Blazing" being one example of her accuracy and sensitivity.
***********************************************************************
22nd Feb 2005 - 7:30pm - The Philharmonia Orchestra - Andrey Boreyko -
Benjamin Schmid (Violin)
DeMontfort Hall, Leicester
Andrey Boreyko managed to secure an ominous opening to Tchaikovsky's
5th Symphony (Op 64).
The encore of Glinka's Ruslan and Ludmilla overture was enjoyable -
particularly watching the first desk of double basses scrabble around for their
music when all their collegues had started playing.
***********************************************************************
19th Feb 2005 - 7:45pm - The London Sinfonietta - David Porcelijn
The Queen Elizabeth Hall, London
The third and final concert of three in the "Inventions" day showed
Simon Holt to be in a class of his own. "eco-pavan" (piano: Rolf Hind) using
sensitive orchestration (Simon Holt: "acting as a shadow to the piano") to
create a piece of subtley with a good sense of continuity (a quality not
present in some other composers work during the day). The piece had the benefit
of some exquisite playing from the virtuosic Sinfonietta musicians.
It's good to be able to report that throughtout the three concerts an
attentitve audience were not once interrupted by a mobile phone.
***********************************************************************
19th Feb 2005 - 6:00pm - The London Sinfonietta - David Porcelijn
The Queen Elizabeth Hall, London
The second concert of three in the "Inventions" day opened with some
technically stunning unaccompanied clarinet playing by Mark van de Wiel in
Simon Holt's "Brief Candles" - "it's not possible to play a clarinet that
quietly !"
A heavily pregnant Clio Gould played with a ready-brek glow in James
Olsen's Chameleon Concerto (the youngest composer represented during the day) -
the string writing in this work being particularly effective.
John Orford took on the electric rock guitar solo persona - assisted by
amplification and what sounded like a fuzz-box from the 60's in "axeman" by
Anna Meredith. At 3 mins the fun did not outstay it's welcome.
***********************************************************************
19th Feb 2005 - 4:30pm - The BBC Singers - James Morgan
The Queen Elizabeth Hall, London
The first concert of three in the "Inventions" day featuring the work
of young contemporary composers alongside the works of their peers Simon Holt
and David Sawyer - with the youngsters shining. Elspeth Brooke's "among banged
fragments" perhaps had the most original tone colouring - using whispering and
half spoken words to good effect and following a convincing climax with a calm
basso profondo based ending which the gentleman sang with consumate ease.
"Doorkeeper" by Peter McAleer also allowed the qualities of the choir
to glow - in this particularly the high tenors. The BBC Singers are
justification alone for keeping the licence fee. (BBC Television, sadly, is no
longer so).
***********************************************************************
12th Feb 2005 - 7:45pm - The Leicester Symphony Orchestra - Nicholas
Daniel - Graham Oppenheimer (viola)
DeMontfort Hall, Leicester
Roger Swann = horn
The technically challenging Four Sea Interludes from Peter Grimes by
Benjamin Britten featured a particularly chilly "Dawn" - helped by some
pianissimo steely upper fiddle playing.
Nick Daniel chose an unusually literal interpretation of Copland's
"Slow Waltz" marking in the 3rd of Copland's Dance Episodes from Rodeo. One
might have expected this to result in an over sentimental Saturday Night Waltz
but the opposite was the case - it sounded completely relaxed and almost
elegant in a wild west sort of way - very intriguing!
***********************************************************************
8th Feb 2005 - 7:30pm - Knighton Chamber Orchestra - Paul Jenkins -
Rachel Calverley ('cello)
The Fraser Nobel Hall, University of Leicester
Roger Swann = horn (Mozart 25)
Rachel Calverley enjoyed lots of loud open string playing in the C
major 'Cello Concerto by Haydn. This contrasted sweetly with her lyrical
playing in the middle movement.
Leader David Davies struggled manfully at keeping tempos going when
others around him seemed only too keen to slow down.
***********************************************************************
5th Feb 2005 - 7:30pm - The Helix Ensemble - Anthony Weeden
The Fraser Nobel Hall, University of Leicester
Gyorgy Ligeti's 6 Bagatelles is an excellent piece. Five members of the
Helix Ensemble caught the light texture in the 3rd movement particularly well,
and enjoyed many of the moments of humour in the music to good effect. The
accoustics of the Fraser Noble Hall really suit ensembles of this size.
This concert formed a tribute to the work of Anthony Pither who is
retiring from the position of director of music of the University of Leicester
shortly. It included the premier of his "Concentus" - written especially for
this event. He was in the audience to enjoy the performance - his piece proving
to be very witty in style - in many places bringing to mind the soundtracks to
Bugs Bunny or Tom & Jerrry movies [music of the highest quality]. If one
was "reviewing to impress" one could suggest Maurice Kagel as an
'influence'!
***********************************************************************
2nd Feb 2005 - 7:30pm - The Lindsays
The Fraser Nobel Hall, University of Leicester
The series of Tippett quartets continued with his fourth quartet
(written in 1978). The opening Molto Legato sounded luscious and romantic,
perhaps in the vain of Schoenberg at his romantic best.
One enjoyable highlight was Bernard Gregor-Smith's dark almost evil
sounding 'cello tone which perfectly set the brooding mood in the slow movement
of Schubert's B flat Quartet D112
***********************************************************************
29th Jan 2005 - 7:30pm - The Bardi
Symphony Orchestra - Andrew Constantine -David Fruhwirth (Violin)
DeMontfort Hall, Leicester
Roger Swann = horn
The band warmly welcomed the return of founder Andrew Constantine and
rewarded him with some playing of the high standard that the Bardi used to
achieve 10 years ago. This was particularly helped by the return to form of the
'cello section.
It is impossible to resist praising the opening chord of Humperdink's
Prelude from Hansel and Gretel - al four horns playing as one and achieving
perfect balance (both in terms of dynamics and tone colour).
It was great to play Tchaikovsky's 4th Symphony with Andrew Constantine
directing. A fact reflected by the enthusiastic applause from the large
audience.
***********************************************************************
27th Jan 2005 - 7:45pm - Houghton Music Club Performers Evening
Houghton on the Hill, Leicester
Roger Swann = guitar
Most enjoyable chance for your reviewer to take the stage with Fiona
Chamberlain (harp) to do a couple of simple Guitar / Harp duets. Most enjoyable
for the participants that is.........
Without doubt the peak of a typical variable programme was Will Smith
(guitar) and Jayne Stanton (singer) - particularly Jayne Stanton's own song
called simply "Lullabye".
***********************************************************************
21st Jan 2005 - 7:30pm - University of Leicester Sinfonia - Michael
Sackin - Deborah Fink (Soprano)
Fraser Noble Hall, London Road, Leicester
Roger Swann = horn
Characteristically ambitious programming by Michael Sackin pairing both
Mozart G minor Symphonies (no. 25 [K183] and no. 40 [K550]) and adding
Britten's "Les Illuminations".
There was some notable solo work in the Britten from Ane-Marie Shaw
(viola) and John Lewis (''cello).
***********************************************************************
20th Jan 2005 - 7:30pm - Piano Recital - Graham Caskie
Music Room, Charles Wilson Building, University of Leicester
Graham Caskie managed to produce a moving performance of Schubert's
Sonata D960 in spite of a poor piano, a venue that now appears distinctly
shabby, severe background noise (lift motors and strong winds outside) and the
discourteous entry of latecomers in the middle of first movement (why were they
admited whilst Graham was playing?).
Interruptions from mobile phones and pagers were reserved for later in
the receital.
A delightful "The Hatter" by Stephen Goss was the perfect foil for the
colossal Sonata No. 3 by Michael Tippett. In this work (which makes Liszt's
penchant for lots of notes seem positively sparse) the performer's technical
grasp was obvious to everyone present.
***********************************************************************
14th Dec 2004 - 7:30pm - Hinckley Choral Union Christmas Concert -
Richard Archer
Concordia Theatre, Hinckley, Leics
Roger Swann = horn (in Cameo Brass contribution)
An evening of Wagnerian proportions including valuable contributions
from Priscila Morris, Elisabeth Campion, a most amusing "Jesus' Christmas
Party" by the Hinckley Speech & Drama Studio team and some happy singing
from Sketchley Hill Primary School Choir directed by Kate Worthington.
***********************************************************************
3rd Dec 2004 - 5:00pm - Siegfried - English National Opera - Dominic
Wheeler
The Coliseum, London
A strange evening with Siegfried (Richard Berkley-Steele) sounding
excellent for the first 30 minutes and then his voice suddenly being replaced
by that of Stephan O'Mara in a lounge suite stage right - significantly weaker
power. At the end of the first act it was announced that Richard Berkley-Steele
had a bad cold and that Stephan O'Mara happened to be in the audience that
evening. They didn't announce that he was a "poor Siegfried" (Guardian review)
during the ENO concert performances of this work two years ago......
The band played excellently - special credit to the tuba and
cor-anglais - and nothing seemed to fluster Dominic Wheeler who's only night of
Siegfried this was (the performances are normally conducted by Paul
Daniel).
***********************************************************************
1st Dec 2004 - 7:30pm - The Lindsays
The Fraser Nobel Hall, University of Leicester
The series of Tippett quartets is proving very revealing. Certainly
this performance of the 3rd Quartet seemed very densely textured throughout -
but the Lindsays close and long association with the composer must mean that
this was intended.
***********************************************************************
28th Nov 2004 - 3:00pm - The Bardi
Symphony Orchestra - Paul Hilliam - John Florence (MC)
DeMontfort Hall, Leicester
The audience seemed to enjoy this afternoon family concert - complete
with well judged (in terms of length and humour) introductions by John
Florence.
Leader Adam Summerhayes had a big role to play in several works and was
on characteristically fine form.
***********************************************************************
28th Nov 2004 - 11:00am - The Pacifica String Quartet
The Victoria Room, DeMontfort Hall, Leicester
This was just an amazing concert - and to a sell out audience too.
The Pacifica played absolutely "as one" throughout - and with a
perfectly matched tone. The perfect matching being achieved across a very wide
range of actual sound colours. And the dynamic range.... And the powerful
romantic intensity - which didn't sound out of place even in their
interpretation of Mendelssohn's Op 13 Quartet.
They also programmed the amazing early string quartet no. 1 by Gyorgy
Ligeti - and played it like the masterpiece that it is.
Artisitic Director Graham Oppenheimer and the DeMontfort Hall team
deserve a real pat on the back for bringing such a high quality concert to
Leicester.
***********************************************************************
20th Nov 2004 - 7:30pm - The Derby Bach Choir - Richard Roddis - Julie
Kennard (sop), Emily Bauer Jones (alto), David Maxwell Anderson (ten), Mathew
Hargreaves (bass)
Derby Cathedral, Derby
A performance of Elgar's massive oratorio The Kingdom. Richard Roddis
capturing the swirling in Elgar's score and enjoying the benefit of some good
singing from all four soloists.
***********************************************************************
15th Nov 2004 - 8:00pm - Houghton Music Club Concert - with Karen
Herringshaw (flute)
The Village Hall, Houghton-on-the-Hill, Leics
Roger Swann = Conductor (HP Sauce)
The Houghton Philharmonic Symphonic Assembly Using Children and Elders
were on good form - capturing the French sound of Faure's Sicilienne especially
well.
The Houghton Singers, too, had a good night. A programme of six
different songs by John Rutter was conducted left handed (the right arm
(complete with broken elbow) held firmly in place in a sling) by the
unstoppable Helen Noble.
Karen Herringshaw (enthusiastically accompanied on electric keyboard by
her father) was a very welcome special guest. Her playing of the Carmen tunes
arrangement by Francois Borne received enthusiastic and deserved applause from
a capacity audience.
***********************************************************************
13th Nov 2004 - 7:30pm - Proteus Chamber Orchestra - University Singers
- Anthony Pither
Fraser Noble Hall, University of Leicester
Roger Swann = horn
A rare chance to play Brahms' Op 17 songs for ladies voices, 2 horns
and harp was followed by the world premier of Anthony Pither's setting of four
poems by Pierre Reverdy (for choir and chamber orchestra). In his programme
note for the work Anthony Pither states that the orchestra is used for
"defining the character of the poems". Certainly the meticulous orchestration
evoked a light witty atmosphere rather well.
The ravishing harp playing of Eleanor Turner ("easy on the eye as
well as the ear" [ a phrase borrowed from music and languages teacher Clive
Jenkins who inspired your reviewer's love of music when a novice horn player of
age 13 ] ) featured thoughout the concert- including a silky smooth performance
of Danse Sacree et Danse Profane by Debussy.
***********************************************************************
11th Nov 2004 - 7:45pm - The Leicester Symphony Orchestra - Nicholas
Daniel - Natalie Clein ('cello)
DeMontfort Hall, Leicester
Some good horn section work in Tchaikovsky's Nutcracker Suite (and
lovely bass clarinet playing by Robert Calow).
Mike Shaw seems to have settled in very quickly as the new leader of
the orchestra.
Natalie Clein wore pretty red shoes (cf review of Bardi Orchestra
concert on 1st Feb 2004).
Nicholas Daniel coaxed a wide variety of style from the orchestra in
Dvorak's Symphony No. 8.
***********************************************************************
10th Nov 2004 - 7:30pm - The Lindsays
The Fraser Nobel Hall, University of Leicester
A particularly witty and informative introduction by Peter Cropper to
Mozart's Quartet in D minor K421 was followed by his enjoyably quirky playing
in the Menuetto of the same piece.
***********************************************************************
8th Nov 2004 - 8:00pm - Jean Binta Breeze - 3Style (freestyle
Collective)
The Y Theatre, East Street, Leicester
Does Jean Binta Breeze's hard hitting poetry work better with a live
band? The answer has to be "not if the bass player"drowns out 80% of the words.
Why have the sound man on stage where he can't possibly judge the balance?
"Ordinary People" and "Aid Travels with a Bomb" stood out from the
crowd - but simply because Jean Binta Breeze kept the band under control such
that the venomous words could be heard.
***********************************************************************
6th Nov 2004 - 7:45pm - The Sinfonia Choral - The Helix Ensemble -
Richard Roddis - Simon Theobald (baritone)
St Barnabus' Cathedral, Derby Road, Nottingham
Roger Swann = horn
Full marks to Richard Roddis for programming the relatively recently
rediscovered Requiem by Gerald Finzi along side the ever popular masterpiece of
the same genre by Gabrielle Faure.
The Sinfonia Choral tackled the concert with good tone and expression -
clearly enjoying working under the expert guidance of Richard Roddis, who is
particularly skillful with medium sized choral groups such as these. His ear
for tuning and diction is especially accute.
***********************************************************************
4th Nov 2004 - 7:30pm - The New Music Players - Roger Montgomery - Lore
Lixenberg (Mezzo)
Djanogly Recital Hall, Nottingham University
A first class informative programme document at only £1-00. No
booking fee for tickets. Palatable wine before the concert and during the
interval. The Djanogly Recital Hall certainly know how to please audiences in
terms of presentation.
It is difficult to be as enthusiastic about the quality of the
performance. Roger Montgomery appeared to have given no thought to questions of
balance in Schoenberg's Pierrot Lunaire. The concert served to emphasise the
quality of the playing of groups such as The London Sinfonietta and The Nash
Ensemble (see review of 3rd Sept 2001 for their proms performance of Pierrot
Lunaire)
***********************************************************************
30th Oct 2004 - 7:30pm - Rachel Lawson (Clarinet etc) - Stephen
Waterhouse (Piano)
St Mary's Church, Barkby, Leics
An enjoyable evening amongst a large audience meant a good amount was
raised for LOROS.
Rachel Lawson got some funky humour into Teddy Bear's picnic on the
bass clarinet and Stephen Waterhouse deserves full marks for concentration
(playing non-stop throughout the evening) and tolerance (enjoying (?) a less
than Steinway standard piano).
***********************************************************************
28th Oct 2004 - 7:45pm - London Sinfonietta - David Atherton
Queen Elizabeth Hall, London
Part of the South Bank "Birtwistle Games" festival (celebrating
Birtwistle's 70th Birthday) the London Sinfonietta played three pieces
originally written for them. Judging by his cheerful expression as he
acknowledge the applause Harrison Birtwistle clearly enjoyed the accurate
performance.
Perhaps the unexpected highlight of the evening was Paul Silverthorne's
perfectly judged pacing of Morton Feldman's "The Viola in My Life (II)".
***********************************************************************
28th Oct 2004 - 6:00pm - Tom Owen (oboe) - Christiane Frucht
(piano)
Royal Festival Hall, London
Tom Owen chose a programme with good variety including the very early
Mozart sonata KV13 and Poulenc's dark sonata. The pair caught the style of the
Mozart very well, Christiane Frucht's sensitive accompaniment being especially
attractive here. They also caught the quirky spikyness of Paul Patterson's
Duologue rather well.
What was especially striking throughout was the way the two played
rhythmically so tightly together. One hopes that their two careers will allow
them to continue to perform as a duo.
***********************************************************************
9th Oct 2004 - 7:30pm - The Bardi
Symphony Orchestra - Daniel Hege - Murray McLachian (piano)
DeMontfort Hall, Leicester
Roger Swann = horn (Mendelssohn)
Guest conductor Daniel Hege did a wonderful job coaxing some
technically accurate and musically fluent string playing noticeable from the
opening bars of Mozart's Marriage of Figaro Overture. The way he organised his
rehearsals and dove-tailed with leader Adam Summerhayes' wise (as ever)
contributions encouraged a postive response from all sections of the orchestra.
The band showed their enthusiasm for his conducting by prolonged applause at
the end of the concert.
All departments successfully negotiated Mendelssohn's tricky Symphony
No. 3 "The Scottish".
***********************************************************************
6th Oct 2004 - 7:30pm - The Lindsays
Fraser Noble Hall, University of Leicester
The opening concert in The Lindsays' series of six, their last season
as a quartet together. Already one felt that the audience were aware that this
is going to be a 'special' series of concerts.
Bernard Gregor-Smith ('cello) was on fine form. A beautifully judged
tiny bit of space in a bar during the slow movement of Mozart's K387 quartet
was exquisite - as was his cadenza towards the end of the first movement of the
spectacularly difficult (but spectacularly enjoyable) first quartet by Sir
Michael Tippett.
The quartet were joined by Paul Watkins for Schubert's String Quintet
in C maj. D956. It was interesting to hear his high quality 'cello playing not
blending at all with the Lindsays sound. An interesting question; are string
quintets perhaps better suited to a quintet of chamber musicians all new to
each other rather than to a very established quartet + one? Having asked that,
in the Schubert the additional 'cello is almost an extra soloist, enjoying lots
of musical conversations with the first fiddle. Perhaps the different tone
colour actually helped the piece work. One was certainly left in no doubt as to
the beauty ofPaul Watkins' playing.
***********************************************************************
2nd Oct 2004 - 7:30pm - Harborough Millenium Chorus - University of
Leicester Sinfonia
Robert Smythe School, Market Harborough, Leics
Roger Swann = horn
The real winner in a battle against fairly unfavourable accoustics was
Brahms - his magnificent German Requiem still sounding wonderful. David Johnson
conducted.
***********************************************************************
27th Sep 2004 - 7:30pm - The Berlin Philharmonic - Bernard Haitink
The Barbican, London
Sitting on the front row, stage right meant one was able to revel in
the outstanding low horn playing ! In fact the whole horn section sounded
magnificent throughout - Mahler's 3rd symphony being particularly horny. The
trumpets, using rotary valve instruments, sounded just slightly more rounded
than maybe some of their English trumpet playing collegues might have - which
again suited Haitink's Mahler perfectly.
The same seat also provides the perfect spot for listening to the rear
desks of first fiddles - in some bands this could be a disadvantage but in the
Berlin Phil one can't help but be impressed by the "strength in depth".
The "Haitink at 75" series has proved to be one of the musical
highlights of the decade - one can't help but look forward to "Haitink at 80
!"
***********************************************************************
20th to 25th Sep 2004 - 7:30pm - The King and I (Rodgers &
Hammerstein) - Melton Mowbray Amateur Operatic Society
The Melton Theatre, Melton Mowbray, Leics
Roger Swann = horn
A fine evening's entertainment: MD, James Stevens, has assembled a fine
orchestra - with notably strong string playing and the whole cast are
excellent, particularly the three leading roles Anna (Sandra Tebbutt), The King
(Eric Wharton) and Tuptim (Laura Tebbutt).
Phil Barnes deserves to be proud of his production which serves notice
of the standards that can be achieved by amateur dramatic societies.
***********************************************************************
15th Sep 2004 - 7:30pm - The Greek Passion (Bohuslav Martinu) - The
Royal Opera
The Royal Opera House, Covent Garden, London
A fascinating and moving production - with credit to Charles Mackerras
not only for his conducting but also for being one of the main driving forces
behind Ales Brezina's re-construction of the original version of Martinu's
work.
As ever Willard White (Fotis) impressed - but he was matched by the
singers in the other key roles, particularly Christopher Ventris (Manolios) and
Marie McLaughlin (Katerina).
***********************************************************************
***********************************************************************