Positive Points about Selected Concerts from 2008/09
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Have you tried the new wind / brass
BreveEasy long note practice
software? You can download a free version of this product developed by Roger
Swann from here.
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Roger Swann
has a beautiful 2 bedroom holiday cottage called Swann Cottage in Derbyshire. You can get information about renting it
here.
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30th Aug 2009 - 2:30pm -
Helix Ensemble - Wind Quintet
St Nicholas Church, Leicester
Roger Swann = horn
This Sunday afternoon concert was promoted by Leicester City Council as
part of the Castle Park Festival. As well as a varied programme of melodic wind
quintet music the audience were treated to a complimentary scone with jam and
cream.
St Nicholas Church has an attactive accoustic and is well suited to
small ensemble chamber music of this nature. The whole event was made possible
by hard work behind the scenes from St Nicholas Organist, Ian Imlay. The five
members of the Helix Ensemble wind section worked well as a team - excellent
balance and intonation throughout.
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25th Aug 2009 - 10:15pm -
BBC Prom 54 -
Michael Nyman Band -
Michael Nyman - Anu Komsi (sop)
Royal Albert Hall, London
The foundation of the Michael Nyman band is the omnipresent bass
trombone of Nigel Barr. Omnipresent but ranging from a very discrete warm
supporting role to the "Money Programme" rasp that only a bass trombone can
relish!
The world premier of Nyman's The Musicologist Scores was another
example of his characteristic homogenous sound. He has the uncanny knack of
making the music sound hypnotically rhythmic yet when you try to look for the
steady beat it proves mysteriously ellusive.
Ending the concert with Memorial (used for The Cook, The Thief, His
Wife and Her Lover) gave soprano Anu Komsi a chance to soar (at high altitude)
above the band - somewhat reminiscent of the great film scores of Ennio
Morricone.
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9th Aug 2009 - 7:30pm - BBC Prom 33 -
London Sinfonietta
- BBC Singers - Edward Gardner - John Constable, Simon Crawford-Philips, Alissa
Firsova, Rolf Hind, Philip Moore, Tom Poster, Ashley Wass, Llyr Williams
(Pianos)
Royal Albert Hall, London
This was the kind of event that only the proms can do - and don't they
do it well. It is fun to imagine the bill for putting on a programme requiring
four grand pianos and the services of nine of the worlds top pianists (not to
mention the four vocal soloists for the Stravinsky finale). The promenade
audience get to enjoy all this for a fiver ! This is why the proms is such a
remarkable festival.
John Adams' Grand Pianolla Music creates the composers usual range of
fluid moving sounds using his self restricted selection of chords. Played
perfectly by solists John Constable and Rolf Hind the piece was overshadowed by
being followed by Bartok's subtle masterpiece of the Sonata for Two Pianos and
Percussion. Here the team playing of Philip Moore and Simon Crawford-Philips
was matched by the percussionists Colin Currie and Sam Walton (providing a
visual spectacle as well as an audio one).
The London Sinfonietta percussion were joined by the BBC Singers and
guest soloists for Stravinsky's Les Noces. This always comes across as a
thinking man's Carmina Burana. Excellent characterful singing from the soprano
Tatiana Monogarova and the tenor Vsevolod Grivnov.
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Royal Albert Hall, London
A programme celebrating the 75th birthday of Sir Harrison Birtwistle
(great to see him enjoying the deserved applause at the end of the concert).
The London Sinfonietta, with whom Birtwistle has had a long standing
relationship were on fine form as ever. Every concert they impress with the
precision of their playing and the variety of orchestral colour they
achieve.
Under the baton of David Atherton there were many moments where is ear
for exactly the right balance was vital. Out of a chord the oboe gently but
significantly easing through for example. All three works dated from early
years, with Silbury Air still sounding throughout like music of the highest
quality. The programme indicated that this was revised in 2003, but gives no
clue as to the nature or the reason for this revision.
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12th July 2009 - 7:30pm - COMA East Midlands - Kieran O'Riordan
The Arts Organisation, Station Street, Nottingham
Roger Swann = horn
The usual eclectic mix of music from COMA East Midlands. The pieces
that were musically most successful were all composed by members of the
ensemble (counting Clare Stewart as an honory member - her Window Wiper Lullaby
being a miniature symphonic poem that struck a chord with all long distance car
drivers.)
Matt le Mare's Compassion set words of the Dalai Lama spoken on a
pre-recorded backing track to music which evolved gently but persuasively
throughout the piece.
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4th July 2009 - 7:30pm -
Helix Ensemble - Kenneth Woods
All Saints with Holy Trinity Church, Loughborough, Leics
Roger Swann = horn
The highlight of this concert was a chance to hear only the second UK
performance of Philip Sawyers Second Symphony. Intoduced in some depth prior to
the performance (during the concert) by the composer this piece is a
significant splash of colour held together by genuine symphonic development of
the basic material. Techinical challenges for most sections of the orchestra
were overcome with the help of Ken Woods clear conducting so that the quality
of the work was given a genuine chance to come across.
The concert ended with Haydn's humourous Symphony No 60 'Il Distratto'
in which Ken Woods worked hard (and effectively) to bring out the many
contrasts within the piece.
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20th June 2009 - 7:30pm - University of Leicester Sinfonia - Michael
Sackin - Ben Gregor-Smith (cello)
Fraser Noble Hall, Leicester
Roger Swann = horn
Breaking with the tradition of overture / concerto / symphony by
performing Schubert's "unfinished" Symphony No. 8 in the first half of the
concert (relaxed tempos meant that the orchestra were able to make the most of
several of the many sublime moments in this work) ensured that the audience
were able to enjoy our guest star's performance of Dvorak's Cello Concerto as
the climax of the concert.
Ben Gregor-Smith certainly lived up to this star billing. There may
have been the odd moment where the orchestra didn't quite sound (or respond)
like the Berlin Philharmonic but our soloist remained totally unphased by
it.
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7th June 2009 - 7:00pm - The Cantus Choir - Alwyn Pollard - Debbie
Bennett (Sop) - David Lovell Brown (Organ)
St Mary's Church, Ketton, Rutland
If yesterday's concert was the main course of this weekends music
making in Ketton this event proved the perfect light dessert. The choir
maintained good ensemble with the Organ and Debbie Bennett's solos were
refreshingly free of fuss or the histrionics of many sopranos
Good singing throughout - with Alwyn Pollard inspiring high quality
diction to allow all the words to be clearly audible. The three soloists drawn
from within the choir (Laura Greenaway, James Hewison and Michael Pollard) for
Purcell's Rejoice in The Lord Always seemed particularly well matched.
An enjoyable glass of Cab. Sauv. from Chile was served during the
interval.
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6th June 2009 - 7:30pm - The Cantus Ensemble - Barry Collett - Steven
Foster (Trumpet
St Mary's Church, Ketton, Rutland
Roger Swann = horn
A capacity audience enjoyed a varied programme including Handel's Royal
Fireworks music (lots of stately playing here) and Mendelssohn's Hebrides
Overture in which the energetic coda was particularly exciting.
Stephan Foster, playing Haydn's (evergreen) E flat Trumpet Concerto,
impressed the audience with a quality large round tone and also an intiguing
first movement cadenza.
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Town Hall, Loughborough, Leics
This was a production with dramatic clout. A curious tale vividly
illustrating the changing face of the USA during the early years of the 20th
Centuary emphasising the brutal racially based treatment facing the american
negros at this time.
Virtually all the cast sang and acted to the high standards that
Greasepaint's director Shane Perry regularly achieves. In particular Lara
Hanrahan (Mother), Desrick Francis (Coalhouse) and Dawne B Stewart (Sarah) were
outstanding. A tight (but unseen) band was directed by Gareth Wynne.
The more or less full house went wild at the end !
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25th May 2009 - 8:00pm -The Charnwood Orchestra - Nic Fallowfield -
Thomas Bowes (violin)
Leisureland Concert Hall - Galway, Eire
Roger Swann = horn
Repeating the Brahms violin concerto from yesterdays concert, here in a
much more realistic acoustic, Thomas Bowes played with vigour and pace, keeping
the work moving forward. Nic Fallowfield secured some controlled pianissimo
playing from the orchestra. He consistently achieves string playing of a high
standard from all of the string sections of the Charnwood Orchestra.
The evening (and with it the two concert Charnwood tour of Galway)
ended with an energetic rendering of Tchaikovsy's Fifth Symphony.
Charnwook Orchestra in Galway - Horn Section Photo : From right to
left: Martin Gilding, Tim Newton, Roger Swann, Simon Marshall
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24th May 2009 - 8:00pm - The Tribal Chamber Choir - The Charnwood
Orchestra - Mark Keane - Nic Fallowfield - Denise Leigh (sop) - Simon Thorpe
(bass) - Thomas Bowes (violin)
St Nicholas Collegiate Church - Galway, Eire
Roger Swann = horn
Choosing relaxed tempos in the Brahms' German Requiem conductor Mark
Keane showed that he had carefully considered ways to counter the excessive
echo in St Nicholas Church. The high quality soloists both sounded rounded and
resonant in the auditorium - Simon Thorpes bass carrying particularly
impressively.
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17th May 2009 - 7:30pm - The Bardi
Symphony Orchestra - Claus Efland - Naomi Williams (cello)
de Montfort Hall, Leicester
Roger Swann = horn
The Bardi Orchestra continues to thrive under the "No Holds Barred"
approach of Claus Efland. He was certainly prepared to hammer home every climax
in both Finlandia and Picturs at an Exhibition. The audience made their
appreciation known !
Perhaps the most successful work was the more restrained performance of
Elgar's Cello Concerto. Claus Efland seemed completely comfortable with this
truely English idiom and Naomi Williams gave us a secure and elegant
performance, pleasingly free of any showy histrionics.
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The Coliseum, London.
A production filled with action - but missing some of the dramatic
refinement of the work. Not so the quality of the orchestral playing and
singing. Edward Gardner coaxed some great playing from the ENO orchestra and
Stuart Skelton as Grimes and Amanda Roocroft as Ellen Orford both sounded in
fine form.
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9th May 2009 - 7:30pm - University of Leicester Sinfonia - Michael
Sackin - Duncan Honeybourne (piano)
Fraser Noble Hall, Leicester
Roger Swann = horn
One audience member advised your reviewer that the highlight of the
evening was the Concerto for Piano and Orchestra ("Within Reflecting Echoes")
by Sonja Grossner. This was the first performance of this work. It's always
exciting to play a work in the presence of the composer. In this case Sonja
Grossner took her normal ULS position amongst the first violins.
The programme note suggested a semi-biographical basis to the work. The
first movement was full of torment - although the fortissimo timp playing did
tend to prevent much of the orchestral detail being heard. This may have been a
misjudgement of performance not helped by the somewhat boomy acoustic of the
Fraser Noble Hall. The orchestration of the second and third movements was very
effective. The tranquil opening of the second movement using the accented
double bass note and the plainchant sound of the tubular bells led to an angst
ridden climax. As this resolved the double basses were once again heard - but
you felt that the angst, whilst contained, hadn't quite been overcome.
The brisk finale contained moments of almost jazzy piano writing and
then contrasting sections that might have been built up on a 12 tone structure
(echoes of Berg?). A colossal piano cadenza followed by a brief coda brought
the work to a close.
One couldn't help but be impressed by the work Duncan Honeybourne had
obviously done on the piano part. Once again Michael Sackin deserves to be
congratulated on his enthusiasm for programming interesting contemporary works
(the piano concerto was the second ULS world premier this season) when many
other ensembles are responding to decreasing audience numbers and increasing
costs by uninspiring and unimaginative concert programming.
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8th May 2009 - 7:30pm - Lohengrin
Conductor Semyon Bychkov was impressive from the (scary) opening bars.
Often a dead theatre accoustic can be regarded as a severe listening
disadvantage. Here it felt the opposite as every detail of the sublime score
was audible and allowed to make full impact. Ten out of ten for the pianissimo
bass clarinet solo at the start of act two.
Both leads, Johan Botha (Lohengrin) and Edith Haller (Elsa) were on
fine form. A post event discussion amongst my collegues led to the conclusion
that the Royal Opera House discrete amplification of the voices was for the
first time perhaps a little too much. Although all the singing was clearly
audible it did mean that at times you weren't sure from where the voice was
coming (ie who was actually singing) and some of the quality of the voices
sounded a little "tinny".
It is impossible to avoid recording that the sword fight in the first
act was truely awful. More dramatic stage fights used to be seen in primary
school plays (in those happy days when fighting was acknowledged as being a
thing males do).
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5th May 2009 - 7:45pm - Houghton Music Club Chamber Music Concert
St Catharine's Church, Houghton on the Hill
Roger Swann = horn
Even by Houghton Music Club's standards this concert covered a wide
range of musical styles: Helen Noble directing the Houghton Singer's in music
from Wesley and Stainer to Lennon and McCartney, David Shuker playing Herschel
on the church organ (great to hear this instrument in action), Rhiannon Jenkins
singing Richard Strauss songs, Gill Hadland playing Jazz recorder are only some
of the pieces performed.
True to the original aims of Houghton Music Club this concert also
provided a platform for the first formal concert performance by the Ladybirds
String Quartet.
Other hightlights included the fluid and beautifully matched flute
duets (Karen Herringshaw and Anna Jordan) and three Flanders and Swann songs
sung by Tony Bentley (Alan Herringshaw at the piano).
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Fraser Noble Hall, Leicester
Roger Swann = horn
Enterprising conductor Paul Jenkins chose to programme the rarely
performed Wind Symphony in E flat major, "The Happy Workshop" by Richard
Strauss as a compliment to the Wind Serenade by Dvorak. The Strauss work proved
to be technically challenging for all players, but the ensemble rose to the
occasion bringing out many moments of typical Straussian oppulance. Paul
Jenkins carefully thought out tempos ensured that whilst the ensemble were
always working within their capabilites the music kept flowing without ever
sounding stilted.
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28th Mar 2009 - 7:30pm - The Bardi
Symphony Orchestra - Claus Efland - Elizabeth Cooney (violin)
de Montfort Hall, Leicester
Roger Swann = horn
There were many good moments in Berlioz' Symphonie Fantastique, for
example the spikey clarinet playing (Christin Taylor & Robert Calow),
heavenly harps in the walze (Soraya Vermeulen & Rowena Bass) and the
atmospheric offstage oboe (Rebecca Dawkins) conversing with the cor-anglais
(Linda Blackhouse).
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24th March 2009 - 7:00pm - Musical Evening
Houghton on the Hill Primary School, Houghton on the Hill,
Leicestershire
Roger Swann = horn (in Houghton Orchestra)
A combined event shared between Houghton Primary School and Houghton
Music Club Orchestra proved an enjoyable evening for all. The school music club
and choir entertained with "Messing about on the River" and the Recorder Group
accurately followed Margaret Grindall's precise conducting in the round
"London's Burning".
The main contribution from the Houghton Music Club Orchestra (conductor
Lance Atter) was Prokofiev's Peter and the Wolf. Tony Bentley narrated and
seemed not in the least distracted by the odd discrepency emitted by the
ensemble.
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21st March 2009 - 8:00pm - Stamford Chamber Orchestra - Christopher
Brown
Stamford Arts Centre, Stamford, Rutland
Roger Swann = horn
Christopher Brown chose a varied (and ambitious) programme, including
three of the less frequently performed Slavonic Dances from Dvorak's op 72 and
Mendelssohn's Italian Symphony (No. 4 Op 90). A real rarity was Richard
Strauss' Dance Suite after Couperin, which required baroque style ornamentation
within 20th centuary orchestral colour.
John Bagley (bassoon) chose this concert to announce his retirement
from the orchestra. A marvellous player and supporter of music in
Leicestershire and Rutland for many many years he has always been a major asset
to any wind section lucky enough to have him. His strengths included his
sensitive playing, round sonorous tone and his amicable nature. He was always
ready to work with his collegues as part of the team. His absence from the
orchestra will leave a large hole which will be tricky to fill.
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14th March 2009 - 7:00pm - Jon Harris (horn), Eva Thorenz (violin),
Malcolm Forbes-Peckham (piano)
Brantwood Concert Series, Brantwood, Conniston, Cumbria
Forty two people (a sell out of six rows of seven people) squeezed into
John Ruskins's front room to hear three capable musicians in the early stages
of their careers perform Horn Trios by Lennox Berkeley and Brahms. Lots of eye
contact ensured good ensemble throughout. None of the players seemed bothered
by the proximity of the audience or the intimacy of the accoustic and they were
not frightened to attempt to play some pianissimo passages "molto pianissimo".
They had obviously carefully considered the balance of the three instruments -
with the piano lid being held just open by a carefully wedged hard-back
book.
The appropriately jaunty playing of Eva Thorenz and Malcolm
Forbes-Peckham was especially attractive.
In addition to the publicised Horn Trios we were also treated by
Malcolm Forbes-Peckham to a rendition of Liszt's 2nd Ballad for piano.
Characteristically buckets full of notes played with great panache and fluidity
provided the ideal appetiser to the enjoyable wine and canapes provided during
the interval.
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7th March 2009 - 7:30pm - Rutland Sinfonia- David
Calow
Oakham School Chapel, Oakham, Rutland
Roger Swann = horn
Enterprising David Calow invited Prof. Brian Newbold to speak prior to
the Rutland Sinfonia playing his suggested completion of Schubert's Unfinished
Symphony. He spoke with conviction and enthusiasm for the case that a long
entr'act Schubert used for incidental music to the play "Rosamunde" could have
been intended as the symphony's finale and offered his own orchestration and
re-construction of Schubert's sketches for the scherzo.
It proved fascinating to perform the well known first two movements
followed by these subsequent additions.
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3rd March 2009 - 7:30pm - London Mozart Players Wind Ensemble
Hungarton Village Hall, Leicestershire
A most pleasing way to spend an evening. Christopher O'Neal (oboe),
Julain Farrell (clarinet) and Robert Porter (bassoon) would sound fine anywhere
- but were particularly welcome at this rural village hall. Making live music
of this quality in small village halls must be something to be encouraged. The
hall was close to full of appreciative villagers (and the audience included
several children).
The ensemble playing was excellent throughout. You got the impression
that these gentlemen were enjoying a rare opportunity to get out of the London
Mozart Players and play as a chamber group. Christopher O'Neal's perfomance of
Britten's Six Metamorphoses after Ovid deserves particular commendation.
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21st Feb 2009 - 7:30pm - University of Leicester Sinfonia - Michael
Sackin - Abigail Johnson (piano)
Fraser Noble Hall, Leicester
Roger Swann = horn
Abigail Johnson showed technical assurance at the keyboard (Beethoven's
Piano Concerto No 4, Op 58) and wasn't frightened to pull the tempo around to
make her performance pleasing to the appreciative audience. She deserved the
enthusiastic applause.
It was fascinating to work on Luke Ottevanger's "Elegy and Ascent" -
here receiving it's world premier - with the composer playing the piano part in
the orchestra. The first half of this piece is an evolution of an earlier work
(Memoirs) as the composer explained during his pre-concert talk. The second
half started in a manner reminiscent of the music of John Adams but as the
ascent proceeded led inexorably to the nominal G harmonically rich bell
(actually a tibeten prayer bowl hit rather than stroked) that represents the
culmination of the upward journey. The orchestra played the piece reasonably
well given the lack of familiarity with the idiom for many of the members.
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19th Feb 2009 - 7:30pm - Down by the Greenwod Side / Into the Little
Hill
The Linbury Theatre, The Royal
Opera House, Covent Garden, London.
Two operas for the price of one with Birtwistle's Down by the Greenwood
Side (Libretto by Michael Nyman) showing his taste for drama with equal (large)
portions of violence and humour. Clever if somewhat macabre staging
(dismembered limbs in abundance) and larger than life characters were matched
by the colourful score.
George Benjamin's Into the Little Hill took a different slant, using a
more subdued narrative style to unfold a tale based on the Pied Pipet of
Hamelin in which the whiter-than-white minister is shown to be less scrupulous
than he might be. Singing of the highest quality from Claire Booth (super
high!) and Susan Bickley gave additional weight to the telling end to the
story.
George Benjamin conducting members of the London Sinfonietta ensured
the music was played with precision and zing throughtout.
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11th Feb 2009 - 7:30pm - Die tote Stadt
Korngold's most well known opera making a rare appearance at Covent
Garden. The music (an uneasy mixture of the styles of Weber and R. Strauss) was
oppulent and sumptious, with conductor Ingo Metzmacher keeping the large
orchestral forces always in control so that the singers were never overwhelmed.
Full marks to the orchestra here - for there are many moments where it must
have been tempting to just give a little more!
The staging came up to the Royal Opera's usual exceedingly high
standard with some visually suprising lighting effects (lighting design
Wolfgang Gobbel)
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7th Feb 2009 - 7:30pm - The Bardi
Symphony Orchestra - Claus Efland - Warren Mailley-Smith (piano)
de Montfort Hall, Leicester
Roger Swann = horn
The Bardi orchestra continues to excel under the direction of Claus
Efland, both technically and musically. Intonation and ensemble in the woodwind
section was first class throughout and the dynamic range of the strings seems
to improve with every concert.
Warren Mailley-Smith produced some delicate runs and trills in the
sparkling outer movements of Beethoven's fourth piano concerto - and the
musical arguement played out between the orchestra and soloist in the slow
movement made you believe, for a moment, that it is the best piece of music
Beethoven wrote.
Audience reaction following Dvorak's Seventh Symphony suggests that
they enjoyed this spirited performance as much as the orchestra did.
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1st Feb 2009 - 7:30pm - Sinfonia Viva - Andre de Ridder - Antje
Weotjaas (violin)
The first chance to hear an orchestral event in The Curve Theatre drew
a reasonable sized audience. The results were pleasingly positive. There was a
distinctive resonance to the sound which if not exactly warm certainly helped
the acoustic. Conductor Andre de Ridder in his short introduction informed us
that the orchestra were happy with the sound of the auditorium - and they
certainly played as if they were.
Two short movments by Damon Albarn - "Pieces" proved rather witty -
amusing harmonies in the first and much stopping and starting in both.
Mendelssohn's Symphony No 1 in C minor Op 11 completed the programme.
Lots of good string playing here (plenty of notes!) made the performance fizz
along. Most enjoyable.
It's a positive move to provide a complimentary programme - but if
providing a list of players proves to much of an administrative challenge it
could at least give the leader's name.....
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29th Jan 2009 - 7:30pm - The Beggar's Opera
The Linbury Theatre, The Royal
Opera House, Covent Garden, London.
The twelve musicians from the City of London Sinfonia were conducted by
Christian Curnyn and played accurately and tidily. Occassional moments of
Britten-esque orchestration were heard.
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24th Jan 2009 - 8:00pm -
Berlin Philharmonic -
Sakari Oramo - Isabelle Faust (violin)
Philharmonie, Berlin, Germany
Sitting to the rear of the orchestra meant that the full force of the
climax in Zimmermann's Photoptosis was enjoyed to the full, with the
contribution from the organ especially significant.
Schumann's Second Symphony op 61 was full of vivacity and joy. The
strings sounded frisky and fizzy yet always exactly as one. Altogether an
uplifting experience.
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17th Jan 2009 - 7:30pm -
Helix Ensemble - Anthony Weeden
All Saints with Holy Trinity Church, Loughborough, Leics
Roger Swann = horn
A classic Helix Ensemble programme featuring music by in a range of
styles.
The violins showed their strength in depth with excellent solos from
Sarah Cresswell (Stravinsky's Pulcinella), Merri Williams (Bartok's Romanian
Folk Dances) and Pete Johnston (Hindermith's Five Pieces for Strings).
Lutoslawski's Dance Preludes were presented in the composers third
version. Anthony Weeden wisely chose not to push the tempos in this technically
challenging piece, allowing the spikey quirkyness of the wrting to come
through.
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18th Dec 2008 - 7:30pm - Simply Cinderella
A new musical (music and lyrics by Grant Olding - book by Toby Davies)
for Leicester's new theatre. An ambitious way to start a major point of
cultural focus - for which the Curve deserves congratulating.
The evening was a lot of fun with some good jokes, frighteningly corney
rhymes and clever (without being unnecessarily showy) stage effects. Savannah
Stevenson sung sweetly as Cinderella and Dawn Hope (Helena) reminded your
reviewer of the fabulous Miss Shirley Bassey. There was also some enjoyable
flugal playing by Nathan Bray.
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12th Dec 2008 - 7:30pm - Kighton Chamber Orchestra - Paul Jenkins -
Anne-Marie Shaw (viola) - Stuart Johnson (violin)
Fraser Noble Hall, Leicester
Anne-Marie Shaw captured the heart of Vaughan William's Suite for Viola
- with the dark rich tone of the viola evoking an English pastoral feeling
throughout the work
Jo Wood (bassoon) seemed the only member of the orchestra not flustered
by the extaordinarily slow tempos adopted by Stuart Johnson in Beethoven's
Violin Concerto - the bassoon solos in the slow movement whilst not
particularly significant seemed lyrical and well paced.
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7th Dec 2008 - 6:30pm - Music & Verse for Samaritan's Purse
Christmas Child "Shoe Box Appeal"
St Mary Magdalen Church, Knighton, Leicester
Roger Swann = horn (Fanfare: Salute to Denis Brain - Peter Maxwell
Davies)
A very varied Christmas event in aid of a good cause effectively
organised by Margot Comar. Of all the many performers bass Robin Nottingham
particularly impressed. This young man had excellent diction and voice
projection, good intonation and also a very happy personal demeanor.
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3rd Dec 2008 - 7:00pm - Leicestershire Arts In Education - The Lord
Mayors Christmas Concert
de Montfort Hall, Leicester
An evening showcasing three of the bands run by Leicestershire Arts:
Junior Band (Jo Conquest & David Hartland <enthusiastic claves in El
Coqui>), Intermediate Band (Geoff Newman <Tidy playing in "The Great
Escape">) and Training Band (Patrick White who's dress sense for Mama Mia
was excellent).
The Junior Steel Band (directed by Patricia Munroe) gave a gently
seductive interpretation of In the Bleak Mid Winter (very sensitive drum kit
playing).
The splendor of the occasion was helped by the back drop of the Massed
Choirs, from various Leicestershire primary schools. Conductor Gillian Ramshaw,
being wise enough to choose piano accompaniment for "Animal Antics" by Rebecca
Lawrence, brought the singers to life: they were obviously enjoying every
moment.
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30th Nov 2008 - 3:00pm - Riders to the Sea -
English National Opera
The Coliseum, London.
Vaughan Williams short opera, here conducted by Edward Gardner as a
result of the unexpected demise of Richard Hickox. Director Fiona Shaw chose to
preface the work with Sibelius' Luonnotar sung by Susan Gritton, who then
appeared towards the end of the Vaughan Williams as if to make some kind of
link. Her cold dark gloomy grey set (lighting by Jean Kalman) matched the cold
dark gloomy feel of the work.
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de Montfort Hall, Leicester
Roger Swann = horn
A Gala Concert in support of Leicester's Bone Bank - Claus Efland
conducted every piece of this "popular" programme as if it was the most
important work of art he'd ever presented - and the orchestra responded
accordingly.
Two new faces in the orchestra (Mihkel Kerem, leader { devilishly good
Danse Macarbre} and John Bean, principle 'cello { ejoyable opening to Puccini's
Intermezzo from Manon Lescaut with Phil Hougton (viola) } both settled in to
their roles with ease.
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22nd Nov 2008 - 7:30pm - Market Harborough Choral Society - Anselm
Kersten - David Hubery (piano) - Roger Swann (horn) - Roy Herd (lighting)
Robert Smythe School, Market Harborough
Roger Swann = horn
Supporting the Brahm's German Requiem, MD Anselm Kersten included a
performance of the second movement of Shostokovich's second piano concerto and
also gave your reviewer the chance to work with Roy Herd in presenting
Hildegard Westerkamp's
Fantasie
for Horns II. One could argue that this proved an incongruous mix - but
variety is the spice of life! Roy Herd's skillfully controlled lighting
accurately followed the composers directions and added dramatic effect to the
Fantasie for Horns II. It was great to have a chance to work with him in
putting this piece together.
Some good moments from the choir and orchestra in the Brahms German
Requiem were the result of Anselm Kersten's distinctive interpretation of the
work. Full marks to him also for the copious informative programme notes.
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21st Nov 2008 - 7:30pm - The
Philharmonia Orchestra - Charles Dutoit - Janine Janson (violin)
de Montfort Hall, Leicester
Every time Janine Janson plays she seems to make a piece of "standard
repetoire" come across as if it was a brand new work. This time it was
Beethoven's Violin Concerto that got the treatment. Straight from her opening
entry the fluidity of her playing was striking. Her first movement cadenza was
immaculate - It's great, too, that she is not frightened of using breathtaking
pianissimo levels, keeping the audience well and truely hanging on her every
bow movement.
The Philharmonia clearly enjoyed demonstratingt their technical
virtuosity in Stravinsky's Rite of Spring.
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26th Oct 2008 - British Horn Society Concerts
Birmingham Conservatoire, Birmingham
A whole day of horn music - the BHS festival certainly represents
outstanding value for money for those inclined to this peculiar taste.
The students of the Birmingham Conservatoire did themselves proud in
the opening event - Ralph Hall's arrangement of Wagner's Rienzi overture being
particularly well played.
The headline artist, Alessio Allegrini demonstrated his virtuosity with
a solo horn fragment based on Rossini and also by playing the Interstellar Call
for solo horn from Messiaen's "Des Canyone aux Etoilles". Here is a player not
frightened of playing at the quietist possible end of the dynamic range. The
afternoon chamber music concert also featured the two british female stars
Angela Barnes (playing Joseph Holbrooke's trio with it's clear echos of the
well known Brahms trio) and Elspeth Dutch (playing Ethel Smythe's own piano
reduction of her concerto for violin and horn < together with Jane Wright
(violin) and Malcolm Wilson (piano) this ensemble played with noticable empathy
>). These ladies more than held there own throughout the day.
The grand finale concert included more rarities with Alession Allegrini
demonstrating grace and ellegance as well as imaculate articulation. Again the
girls impressed by choosing to play a curious work "St Paul's Sequenza" for 2
solo horns and horn quartet - credited in the remarkably brief programme to 3
composers - Robin Wetterburn, Peter Gritton and Ben Parry.
As always there was room for great spectacle as all the big names came
together (enjoying the advantage of Peter Dyson's rock solid bass playing) for
some of the most accuate horn ensemble playing ever. It was obvious that the
players were enjoying the chance to play well together as much as everyone in
the audience was taking pleasure in listening to them. Your reviewer is certain
that he was not the only horn playing in the country who went home full of
enthusiasm to practice more (and more effectively) as a result of this
event.
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24th Oct 2008 - 7:00pm - Don Giovanni - Paul Jenkins
Fraser Noble Hall, Leicester
A semi-staged performance of Mozart's Don Giovanni produced and
directed by Paul Jenkins using Dent's (OUP) translation of da Ponte's libretto
attracted a respectable audience.
With reasonable singing from all the cast - with, perhaps, the ladies
gaining the upper hand (Michelle Martin - Donna Anna, Sandra Roberts - Donna
Elvira and Nicky Bingham - Zerlina) the plot was held together by the excellent
narrator, Edward Bampton.
One highlight was Don Giovanni's (Alan Speight) aria accompanied by the
on-stage guitar minstrel (Yvonne Bloor).
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Royal Festival Hall, London
A concert including music by three major figures of 20th Centuary music
attracted an audience of all ages. Perhaps a fact that those worried about the
aging audiences of a typical symphony orchestra concerts should note.
Xenakis' Pithoprakta showed off the quality of the Philharmonia string
section - but the almost unnoticed pianissimo trombone playing deserves
recognition as well.
The whole orchestra shimmered beautifully in Ligeti's Atmospheres and
the block chords in Chronochromie had the unmistakable stamp of Messiaen.
Amongst such towering company Benjamin presented his own "Sudden Time"
which included a beautifully played viola solo (Jane Atkins).
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8th Oct 2008 - 7:45pm - Houghton Music Club Performers Evening
Houghton on the Hill, Leicestershire
Roger Swann = horn (Otto Nicolai duet with Roz Saunders)
A classic Houghton Music Club meeting - exactly epitomising what the
organisation is all about.
All contributions were considered equal and were roundly applauded:
Margot, Kathleen and Liz playing Loeillet, Mike Hamiliton's excellent classical
guitar played from memory, Lucy's piano playing with accompaniment of a very
creaky sustain pedal, the debut of the appropriately dressed Ladybirds String
Quartet and the subset of Wysisyg folk group.
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5th Oct 2008 - 11:00am - Carducci String Quartet - Graham
Oppenheimer (viola)
de Montfort Hall, Leicester
The Carducci quartet joined with Graham Oppenheimer to give a
beautifully blended performance of Vaughan Williams' rarely heard Phantasy
Quintet. Very often an additional spoke in the wheel of an otherwise balanced
quartet can produce all sorts of tensions but this was strikingly not the case
here. The two violinists also blended excellently in the lower register that
Vaughan Williams uses extensively throughout.
It's good to see deMontfort Hall continuing to promote these coffee
morning concerts - and worth noting that the complimentary interval tipple (in
your reviewer's case a pleasant dry sherry) is much appreciated by all.
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4th Oct 2008 - 7:30pm - Rutland Sinfonia- Paul Hilliam -
Amy Littlewood (violin)
Oakham School Chapel, Oakham Rutland
Roger Swann = horn
A classic Rutland Sinfonia programme with a selection of excellent
works taken from "around the British Isles" and all just a fraction off the
beaten track
Fitting well within this concert theme was the world premier of George
Brown's Memories of Ulster. A substantial work, written especially for the
Rutland Sinfonia by the orchestra's long standing (but now retired) principal
oboeist, this piece draws on the composer's variety of experiences in Northern
Ireland. Passages make references to both bad (the troubles?) and good times
and the piece is soundly constructed, using a simple rising motif to hold the
listener's attention throughout. The orchestra enjoyed working at the music
(it's always challenging when you have the composer sitting in at rehearsals
offering suggestions as you concentrate on bringing his efforts to life). It
would be great to hear this work performed again or to have a chance to present
further work by George Brown.
Amy Littlewood impressed all present with her assured playing of
Vaughan Williams' The Lark Ascending. The orchestra responded to her delicate
interpretation with some sensitive accompaniment - the band showing that it
currently has a very competent set of four lead woodwind players.
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27th Sept 2008 - 7:30pm - The Bardi
Symphony Orchestra and Chorus- Claus Efland - Rita Cullis (soprano) -
Alexandra Gibson (alto)
de Montfort Hall, Leicester
Roger Swann = horn
Schubert's Symphony No 8 (Unfinished) set the mood for this successful
opening concert for the Bardi Orchestra Season. Smooth 'cello playing (Maxine
McGinnes seems to have settled well into her role as section leader of the
'cellos and the security of pitch they provide gives the essential back bone to
the orchestra sound) in the opening theme was matched by well balanced woodwind
and horn playing.
The focus of the concert was always going to be Claus Efland's
interpretation of Mahler's Resurrection Symphony. All sections of the orchestra
rose to the occassion and the chorus sounded magnificent (full marks to chorus
master Giles Turner). The trombones and tuba seemed untroubled by the nervy
pianissimo writing (perfect section synchronisation and intonation) and clearly
enjoyed the moments where Mahler asks for controlled but overwhelming
power.
Horn Section Photo : From top left: Andrea Hemmett, Gill Colley, Edward
Turner, Robert Parker, Jo Chapman, David Leeder, Roz Saunders, Roger Swann,
Julian Haslam, Mark Penny
(Photograph: David Calow)
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21st Sept 2008 - 8:00pm - Leicester International Music Festival
Ensemble
Leicester Cathedral, Leicester
Event number 8 in the 2008 Leicester International Music Festival
opened with the festival director, Nick Daniel playing the Bach Partita in A
minor for solo oboe. If the audience appreciated the technical virtuosity on
display here they were (rightly) positively stunned by the performance of the
Rite of Spring in Stravinsky's own arrangement for piano with four hands. The
four hands here were supplied by Katya Apekisheva and Charles Owen - but they
really did sound like they belonged to a single person - such was the rhythmic
synchronisation. You are left with the feeling that Stravinsky was really
wringing out the orchestral colour from the piano.
Messiaen's Quartet for the End of Time made a contrasting second half.
Violinist Alexander Sitkovetsky and Pianist Katya Apekisheva seemed to really
understand the ethereal but still chilling atmosphere that is prevalent
throughout the work.
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