** Positive Notes about Selected Concerts **
Season - 2012/2013
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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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25th Aug 2013 - 14:00 hrs -
Ilkeston Brass - David
Jones
The River Gardens, Belper, Derbyshire
The perfect sunday afternoon in the very English setting of Belper
River Gardens. A variety of tuneful pieces and some entertaining introductions
from conductor David Jones were enjoyed by the large audience, some of whom
were definitely enjoying extravagant picnics complete with blankets and chilled
rose wine. All enjoyed Boney-M's Rasputin as the "grand finale".
Conductor David Jones and trombonist Jake Cresswell
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9th Aug 2013 - 18:00 hrs -
BBC Prom 35 -
Bavarian Radio Symphony Orchestra - Bavarian Radio Symphony Choir
- Mariss Jansons - Genia Kumeier (sop) - Anna Larsson (mezzo)
Royal Albert Hall, London
Arriving an hour and a quarter before the start time, your reviewer
had mixed feelings about the vast length of the proms queue for the arena area
and a similar volume of optimists queuing for the prom space in the gallery. It
is great to see such an enthusiastic turn out for a classical music concert,
but it meant getting into either promenade area was going to be impossible. As
a staunch advocate of the good acoustics when standing just to the left (ie the
first violins side) of where the fountain used to be (what ever happened to the
fountain?) and an equally strong opponent of the acoustics in the promenade
gallery (everything is too distant) it very quickly became apparent that this
concert was a case of "beggars can't be choosers". Feeling pleased to knock a
tout down from £45 to £43 for a ticked in the second tier, box 62,
back seat ("you can move it in the middle once the other four have arrived")
number 5 your reviewer stood up on the back seat foot rest for the whole
symphony in an effort to get enjoy the wonderful view and to lend a discerning
ear to both the quality of the playing and the acoustic in this unfamiliar
position.
A bonus was to chat to a neighbouring blind lady who is able to bring
her guide dogs (she had two!) in to these seats and turned out to be a frequent
visitor to the Royal Albert Hall during the prom season. The dogs behaved
impeccably throughout the event.
The band played with precision. Jansons had a good grip on the
dynamics (although a disconcerting tendency to be overindulgent with some
rubatto). He achieved a fine pianissimo entry from the choir. Both soloists
sounded fine. Shame that they used an electronic organ rather than the
magnificent RAH instrument.
But it all sounded so remote; not at all the fault of the musicians,
simply due to the vastness of the venue and the familiarity of your reviewer
with his favourite position, so clearly in view but out of reach. It was almost
as if one was eavesdropping on someone else's great musical experience. Perhaps
one was....
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4th Aug 2013 - 18:00 hrs -
BBC Prom 29 -
BBC Scottish
Symphony Orchestra - Chorus of the Deutsche Oper Berlin - Donald
Runnicles
Royal Albert Hall, London
A concert performance of Tannhauser means singers can apply all their
concentration to the vocal performance without being constrained by
(im)practicalities imposed on them by stage directors. Tonight the sell out
audience was treated to singing of the highest quality from all the soloists
and some chorus work (all sung from memory) ranging from ethereal to stridently
stirring.
Throughout the evening (with the acceptable exception of the very last
few bars) Donald Runnicles induced "opera orchestra" playing from his fine
orchestra. At all times they seemed sensitive to the needs of the soloists and
kept a restrained sound yet never sounded dull or disinterested. The heavy
brass were particularly impressive in this and the classical precision of the
rotary valved trumpet playing made every entry that can seem insignificant in
less capable hands a pure joy to listen to. The horn section were smooth and
played as a perfectly balanced quartet throughout too. The orchestral leader,
Laura Samuel, provided rhythmic drive and added sensitive spacious solos on
demand.
The production made effective use of the space of the Royal Albert Hall
with off stage singing, hunting horns, fan fare trumpets, shepherds cor-anglais
all intelligently placed. This all added up to a magnificent evening's music
and the prolonged applause for all the singers was nothing less than completely
deserved.
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21st July 2013 - 19:45 hrs - Capriccio
Andrew Davis conducted this "concert performance" of Strauss' final
opera and, judging by his beaming expression throughout, loved every moment of
it. Hardly a surprise: his orchestra was on excellent form, the string sextet
players opened the evening sublimely and horns and brass were always working
within the context of Strauss' marvellous orchestration rather than drowning
all that is beautiful around them.
On top of all this was the exquisite voice and acting of Renee Fleming
as the Countess Madeleine. Her body language perfectly communicated the
thoughts and feelings of her character throughout every bar of Strauss'
sumptuous score. Bo Skovhus as the Count was in a similar league and Andrew
Staples (Flamand) and Christian Gerhaher (Olivier) were also at the top of
their form.
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20th July 2013 - 19:30 hrs - Rich Tapestry - East Midlands COMA -
Kieran O'Riordan
St Jude's Church Hall, Nottingham
A concert including six premier performances attracting an audience of
seventy or more. Who says there is not an interest in contemporary music? The
title of the concert "Rich Tapestry" was taken from the piece of the same name
by ensemble member Matt le Mare in which he mixes sounds that hears from a
Nepalese Singing Bowl (prayer bowl) that plays throughout the work with similar
fluid pitches from the ensemble. Fascinating.
Jeremy Clay's (a composer from outside of the ensemble) "Roots"
captured the unstoppable force of nature very effectively. As ever Anna
Claydon's perfect intonation and rounded control toned made her own "When I..."
one of the evening's many hightlights.
This concert was one of the more technically challenging that the
ensemble has attempted and it is a great tribute to the patience and rhythmical
stability of Kieran O'Riordan that the group were able to perform the works to
the standard achieved.
The East Midlands COMA organising committee were also kind enough to
let your reviewer indulge in the world premier performance of his composition
"Four Corners". Aiming to raise a few chuckles and a few questions, it is
possible to announce a success on the former count (measured by audience
response). Only time will tell about the second....
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18th July 2013 - 19:00 hrs -
BBC Prom 9 -
BBC National
Orchestra of Wales - BBC National Chorus of Wales - BBC Symphony Chorus -
Thomas Sondergard
Royal Albert Hall, London
The perfect way to follow a hot summer's day at Lords watching the
second Test in this years battle for the ashes was to catch the second half of
the BBC NOW prom: Strauss' Alpine Symphony. The consumate skill of Strauss as
an orchestra is a pleasure to enjoy in the large space of the Albert Hall.
Thomas Sondergard had an excellent set of off stage horns and had distributed
his off stage cow bells around the hall so that from the promenader's
perspective the sounds moved as the piece progressed.
The performance included some top class oboe and cor-anglais
solos.
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13th July 2013 - 19:30 hrs - Helix Ensemble -
Chris Houlding (Musical Director
and Trombone Soloist)
St Mary's Church, Clifton Village, Nottingham
Roger Swann = horn
Chris Houlding's first concert with the Helix was in the wonderful
acoustic of St Mary's Church as part of the remarkable Clifton Village Music
Festival. Demonstrating outstanding technique and a glorious alto trombone
sound, his playing of the Albrechstberger Concerto for Alto Trombone was even
more remarkable given the soaring summer heat inside the church.
Placing great emphasis on articulation and musical direction and
asking for all loud playing to be controlled, Chris Houlding secured a
performance of Mozart's Paris Symphony No. 31 K297 that positively fizzed
along.
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11th July 2013 - 19:45 hrs - The Canticles
Directors Neil Bartlett and Paule Constable staged Britten's five
Canticles with some dancing and a small amount of theatre. This did not impair
the enjoyment of the quality singing of Ian Bostridge and his cohort on the
piano, Julius Drake. All other musical support was of a matching standard too:
Countertenor Iestyn Davies, Baritone Benedict Nelson, Horn Richard Watkins and
Harp Sally Pryce.
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5th July 2013 - 22:00 hrs - Solistice
It is good to see "The Musician" still surviving in its role of
promoting live bands in Leicester. Andy Glass can do all the necessary stuff on
lead guitar. Sadly the lyrics and quality singing of Emma Brown were almost
continually drowned out by the prominence given to a rather dull electric bass
sound and the repetitive thud of the amplified bass drum by a sound engineer
who, one suspects, has not really given any thought as to what might
distinguish this band from the many others that make up the competition.
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Christchurch Baptist & Methodist Church Hall, Clarendon Park,
Leicester
A most enjoyable concert with a wide range of ambitious repertoire
presented in an informal manner but with obvious concentration from all the
players. Including Malcolm Arnold's Orchestra Suite No. 2 and a movement from
Bizet's Symphony in C, Jo Conquest was deliberately stretching her players and
how well they responded to these demands. A new face in the leader's chair:
Nicola Jackson, is a major asset to the ensemble.
One thing is certain about Clarendon Park Orchestra concerts: they do
do excellent cakes during the interval.
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26th June 2013 - 19:30 hrs - Death in Venice -
English National Opera
The Coliseum, London.
Britten's final opera gives the tenor playing Aschenbach a huge
challenge. John Graham-Hall seemed completely at ease in this test, singing and
acting magnificently throughout. The production (director Deborah Warner) was
very effective at capturing the atmosphere of a hotel lobby one moment and then
the venitian lido the next. The whispy curtains matched the transparent
mysterious and ominous orchestral colour that Britten was a master at
writing.
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24th June 2013 - 19:30 hrs - Gloriana
Britten's score shows his most English side with very regal music
appropriate for the plot (conductor Paul Daniel). The production was as if the
audience were watching an amateur dramtic performance in a village hall
(complete with the inevitable cream painted iron roof struts - a very realistic
touch!). This scheme actually worked very well, explaining away odd moments
such as representing an army by a boys chorus. The director was Richard
Jones.
Susan Bullock as Elizabeth I and Clive Bayley as Sir Walter Raleigh
both impressed.
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22nd June 2013 - 19:30 hrs - The Oakham Comedy Prom - Alwyn
Pollard
All Saints Church, Oakham, Rutland.
Roger Swann = horn
Part of the Oakham Festival this concert was the brainchild of the
conductor and comprised of a wide range of pieces all with some humourous
twist. It was the first time your reviewer had played both Beethoven's 9th
Symphony and Walton's Belshazzar's Feast in the same concert (admitedly both
pieces had been severly abridged).
Your reviewer's performance of the finale of Mozart's Horn Concerto
K412 in D on the hose pipe was nothing compared with the grand entrance made by
the provocotive well endowed blonde called Gloria during Vivaldi's romantic
seranade of the same name RV589. "All done in the best possible taste...."
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17th June 2013 - 19:30 hrs - The Perfect American -
English National Opera
The Coliseum, London.
The first UK production of Philip Glass' opera based on the final years
of Walt Disney. A very clever production with imaginative use of video
projection onto curtains helped keep the audiences attention (Director Phelim
McDermott)
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15th June 2013 - 19:30 hrs - University of Leicester Sinfonia - Michael
Sackin - Jonathon Wakefield (flute)
Fraser Noble Hall, Leicester
Roger Swann = horn
Jonathon Wakefield followed his performance of Romberg's flute concerto
with a short encore for solo flute written by Sonja Grossner. Using an encore
as an opportunity to introduce a new work (and in particular a work containing
a call for a much extended technique compared with the Romberg) to the audience
rather than to dilute the audience experience with a "lollipop" has much to be
commend it.
Michael Sackin took the unusual step of programming the concert
overture (in this case Mendelssohn's wonderful "Die Schone Melusine" as the
opening to the second half of the concert. This did create a slightly
unbalenced concert in terms of timing and meant that by the final movment of
Brahm's Symphony No. 3 the concentration of both the orchestra and the audience
was tested. Credit should go to leader Liz Murphy for helping the ensemble to
hold together during some of the tricky off beat passages.
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4th June 2013 - 19:00 hrs - La Donna Del Lago
Opera at it's best is simply a real pleasure and tonight's event was
comfortably in this catagory. Joyce Didonato (described by one of my fellow
audience members as "at the top of her game") ad Elena and Juan Diego Florez as
the King of Scotland were both absolutely stunning in terms of vocal projection
and acting. The supporting singing was also top class in every case.
The production appeared confused at the start but made more sense as
the tale unfolded (Director: John Fulljames) and although this is a rarely
performed work from Rossini's cannon it still had all the hall marks of his
masterpieces. If conductor Michele Mariotti didn't extract the tightest ever
playing from his orchestra he still achieved great subtlty (the sound of the
timps was so crisp without any boomyness all night for example) and you came
away marvelling at the detail this orchestra can work to. The opening of the
second act was sublime.
This would have made the perfect introduction for anyone new to the
(admitedly sometimes intimidating) world of opera.
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1st June 2013 - 19:30 hrs -
London Sinfonietta
- Thierry Fischer
Queen Elizabeth Hall, London
A rare performance of Mauricio Kagel's (1931-2008) eight pieces
collectively titled "The Pieces of the Compass Rose". The huge array of
percussion required may be one of the reasons why the pieces are rarely
performed as a set of eight (the earliest was started in 1988 and the latest
finished in 1994). Indeed the concert frequently became a show case for the
vituosic talent of David Hockings who seemed master of everything asked of him
(with the possible exception of the pan pipes).
Another reason for the infrequency of performance as a set might be
that they did start to sound a little repetitive. Kagel's use of sustained
visual staring as a method of ending a piece certainly seemed too frequently
employed.
A third reason may be the sheer length of presenting all eight pieces.
Owing to the limited late night train service back to Leicester provided by
East Midlands Trains on a Saturday your reviewer had to leave the auditorium
before the final piece, forcing him to miss, amongst other less common
percussion instruments, the washboard and a large log.
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26th May 2013 - 19:30 hrs -
The Charnwood Orchestra - Nic Fallowfield -
Iona Brown (violin)
Queen Elizabeth High School, Hexham, Northumberland
The first of two concerts in N. E. England given by the Charnwood
Orchestra found the ensemble at the top of it's form. Sensitive accompaniment
of Iona Brown's rounded mellow interpretation of Max Bruch's Violin Concerto
No. 1 allowed the soloist to show that this piece does not have to be played
with extremes of aggressiveness to balance the dolce passages.
The performance of Sibelius' 2nd Symphony was a joy. If a concert's
success is measured in the degree of communication between the performers and
the audience then the score here was ten out of ten. Firstly it was clear every
player was relishing the chance to bring the score to life. Secondly Nic
Fallowfield encouraged well paced crescendos and the resulting ebb and flow of
tension was palpable. All this was reinforced by splendid gutsy string playing
(leader: John Barwell) and much good playing elsewhere: particularly tight
brass / horns in the notorious second movement passages for example.
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16th May 2013 - 19:30 hrs -
Houghton
Music Club Spring Concert
Houghton Village Hall, Houghton on the Hill.
Roger Swann = horn
The Houghton Music Club invited the Unique-horns (flexibly consisting
of Mark Penny, Nigel Moore and Julian Haslam as well as your reviewer) to
support the Houghton Singers. The concert was really about the choir though and
a good sized audience heard them sing their hearts out in Ed Lojeski's
arrangement of songs from Boublil & Schonberg's Les Miserables. It was
obvious to all that musical director Helen Noble must have worked them hard
during rehearsals to push them to such an invigoratingly high standard. This
was also the first outing of their new piano accompanist Malcolm Lomax: he
seemed completely comfortable with this responsible role.
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The Coliseum, London.
Excellent playing by the ENO orchestra of Berg's vast and complex score
(conductor Edward Gardner) was matched by all the main voices on stage in
Berg's portrayal of the unremitting demise of the title character (Wozzeck -
Leigh Melrose, Marie - Sara Jakubiak, Captain - Tom Randle, Doctor - James
Morris)
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11th May 2013 - 19:30 hrs - Helix Ensemble - Beate Troyka (piano)
St Peters Church, Belper
Roger Swann = horn
A varied programme formed the opening concert of the Belper Music
Festival. Working without a conductor gave the musicians a chance to
demonstrate their "chamber ensemble" technique - one audience member mentioned
that he was "very impressed with how together the band sounded".
The Belper Music Festival is driven by the enthusiasm of Beate Troyke
and it was fitting that a highlight of the evening was her playing of the
Bach's keyboard concerto in D minor BWV 1052.
The strings shone in Britten's Simple Symphony, very ably led by
Andrew Chadwick. This included a particularly polished sounding viola section
solo in the slow movement.
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Holy Trinity Church, Leicester
Nikolai Demidenko has an awe inspiring dynamic range and makes every
opportunity to use this to bring out all maner of expression in the music. His
enjoyment of the witty contrasts in Beethoven's Six Bagatelles Op 126 actually
generated a spontaneous audible chuckle from your reviewer at one point (with
apologies to any neighbouring audience members who might have been
distracted!).
At times hammering away as if he were competing with (and beating) Stan
Tracey, this made his featherweight, fluid, playing in music by Chopin all the
more remarkable. This was sheer bliss to listen to.
The concert was enhanced further by an enjoyable Chilean Merlot during
the interval.
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de Montfort Hall, Leicester
Roger Swann = horn
Two great symphonies provided the challenge to both orchestra and
audience alike in the final concert of the Bardi's 2012/2013 series at de
Montfort Hall. Schumann's Symphony No. 4 op 120 getting plenty of happy fizz;
Claus Effland's driving adding further weight to the feel that the music just
poured out of Schumann in a continuous stream.
Elgar's Second Symphony in E flat op 63 also creates the sense of
spontaneous flow from composer's mind to paper (although the introduction to
the Novello Full Score documents the long and minutely considered process of
composition behind the work). It is Elgar at his most swirling in terms of
rhythm, orchestral colour, harmonic underpinning and dynamics and Claus Effland
has an instinctive empathy with this very English writing.
The concert programme included the very welcome news that the Bardi
Orchestra will be performing five concerts in de Montfort Hall next season,
four of which will include four more "great symphonies". The inclusion of a
"family concert" encouraging an audience less comfortable with the formality of
a traditional symphony orchestra presentation is an excellent idea: put 2nd Feb
2014 - 15:00 hrs (note start time) in your diary now !
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12th April 2013 - 19:30 hrs -
Houghton
Music Club "Folk Evening"
Rose & Crown Skittle Alley - Houghton on the Hill.
The Houghton Music Club chose to encourage a movement away from the
more formal styles of music making that it more commonly features by calling
this a "Folk Evening". The name was evidently used in the broadest sense. A
very wide range of musical styles were presented by members and guests and the
quality ale and lashings of chips helped keep audience and performers alike in
a relaxed mood.
Special credit to performers Barbara Taylor and David Hayes who both
sung solo songs completely unaccompanied (a very daunting task) and to Kathleen
Newman who managed to get to the gig perform on her oboe inspite of only very
recently coming out of hospital following fairly major surgery.
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7th April 2013 - 18:30 hrs -
The Fitzwilliam String Quartet
with Caroline Wolff (viola) and Gemma Rosefield (cello)
18:30 hrs is a happy time to listen to chamber music on a Sunday
afternoon (especially when followed by an excellent Ethiopian meal from a
nearby restaurant on Caledonian Road). This concert included two sextets,
including the luscious opening of Strauss' Capricio. It's always interesting to
see how the addition of two new players to a string quartet affects the group
dynamics.
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23rd Mar 2013 - 19:30 hrs - Hinckley Choral Union - University of
Leicester Sinfonia - Richard Archer - Caroline Palmer (sop) - Giles Turner
(ten) - Clive Hilton (Bass).
The United Reformed Church, Hinckley, Leicestershire.
Roger Swann = horn
The most remarkable thing about this performance of Haydn's Creation
(other than the music itself) was that it took place at all, given the
atrocious wintry weather conditions. The small size of the audience must be
partly if not wholly explained by the freezing temperatures and layer of snow
outside.
Inside the story was different: this is a very comfortable concert
venue with cushioned sensible seating, reasonable heating, good light and a
fine acoustic for both performers and listeners alike.
Caroline Palmer shone as the soprano soloist. It was a great shame that
Haydn's masterpiece was underpinned (stamped on?) by an electric inadequate
impersonation of a harpsichord with a sound more suited to a rock band than the
refined demands of Haydn.
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22nd Mar 2013 - 20:00 hrs - Written on Skin - George Benjamin
This was a dramatic evening of theatre and music conducted by the
composer. George Benjamin has wisely restrained his use of a substantial
orchestra so that the balance with the voices was excellent. The rare outbursts
of tutti orchestra at full throttle were all the more portant as a result.
The staging formed a link between a vague present day and an equally
vague time in the past when the majority of the plot (human beings lust of
power and lack of respect of each other's dignity) takes place. The implication
that "not much has changed" was not lost. (Libretto: Martin Crimp) The snow
falling outside the window in one scene was completely and frighteningly
realistic given the actual weather outside the building at the time.
The music was written with the three lead singers in mind; Barabara
Hannigan (Agnes) , Christopher Purves (The Protector) and Bejun Mehta (The Boy)
were all top class in terms of voice projection, expressiveness and
acting.
The auditiorium was completely full. This was the Royal Opera House at
it's peak.
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19th Mar 2013 - 19:00 hrs - La Voix Humaine / Dido and Aeneas -
Opera North - Wyn
Davies
The Theatre Royal, Nottingham
The unusual pairing of Poulenc and Purcell emphasised the excellent
projection of the libretto by Lesley Garrett taking the role of Elle in the
Poulenc. Both operas featured some captivating stage lighting effects (lighting
design Andreas Fuchs).
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West Road Concert Hall, Cambridge
Roger Swann = Wagner Tuba (in F)
A great chance to play a magnificent work with a cracking team of horn
players putting up with their guest wagner tuba section from the East Midlands.
It felt like we were making the right kind of sound to suit Bruckner's
requirements in his seventh symphony.
The Sampson Orchestra has many strengths, not least first oboe Janet
Wrench. Another highlight of the evening was Guy Llewellyn's romp through
Mozart's 4th Horn Concerto K495. Dashing off the high speed semi-quavers with
ease and offering a modern first movement cadenza this was a performance of the
"go for it and enjoy it" approach which the good sized audience appreciated to
the full.
Horn Section left to right: Chris Wykes, Emma Lewis, David McClintock,
Paul Ryder (principal) - Wagner Tuba Section left to right: Julian Haslam,
Roger Swann, Stuart Bower, Mark Penny (principal wagner tuba)
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16th Mar 2013 - 19:30 hrs - Leicester-shire Schools Music Service
Holy Trinity Church, Leicester
Sally Smith directed the Intermediate String Ensemble (a good sized
viola section) through a varied programme of works - including a series of
"Battles" by Edward Huws Jones (the cannons in the lower strings being very
daunting!). She also had the justified confidence to include a string quartet
spot to give the top players a moment of glory.
The Leicestershire Schools Symphony Orchestra directed by Andrew Bound
showed their colours in Dvorak's Eighth Symphony. Or at least in two movements
of the symphony. It was a great shame not to include the whole work. The
trumpet opening of the fourth movement was bright and rousing and perfectly in
tune. There was much to admire and enjoy in the playing of the double reed
sections and the string sound was strong and warm with leader Agnes Cameron
keeping constant eye on the conductor's beat.
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14th Mar 2013 - 19:45 hrs - Piaf
Your reviewer's third visit to the Curve Theatre in a week (a very
pleasurable indulgence) was to be forcibly reminded about the tough life that
shaped the unique voice of Edith Piaf. The demanding title role was played to
great effect by Madalena Alberto who did a great job of capturing both the
voice and also the physically diminutive stature her namesake.
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12th Mar 2013 - 19:30 hrs - Simone Boccanegra -English Touring Opera
In complete contrast to yesterday's event, Verdi's passionate
outpouring gave ETO a chance to show the power of the human voice. You couldn't
help but marvel at the solid volume produced by the cast, particularly
Elizabeth Llewellyn (Amelia/Maria) and Keel Watson (Jacopo Fiesco)
The auditorium of the main house at the Curve Theatre sounded excellent
in both these ETO productions - it is a great achievement to bring opera of
this standard to Leicester. The good sized audiences for both events must
encourage the Curve Theatre to do more work of this standard both in opera and
in conventional theatre.
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11th Mar 2013 - 19:30 hrs - Cosi Fan Tutte -English Touring Opera
It is generally believed that quality opera has not taken place in
Leicester for 25 years, so it was great to welcome English Touring Opera to the
Curve Theatre. The orchestra played exquisitely (some very elegant woodwind and
horn playing matching some tidy string playing (especially given the reduced
numbers of each string section)) and the four lead singers matched this high
standard (special credit to "stand in" Lorna Bridge - it was impossible to tell
that she was not the regular Fiordiligi). Musicianship of this standard was a
joy to listen to (conductor: James Burton).
Choosing to sing the work in English always ignites a discussion on
the merits of moving away from the original libretto. At times the sound of the
English text seems a bit clunky but credit must go to the singers for getting
much of the detail across.
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9th Mar 2013 - 15:00 hrs - The Derwent Singers - Richard
Roddis
The Riding School, Calke Abbey, Ticknall, Derbyshire
A capacity crowd enjoyed a very varied programme of choral music in the
"Riding School" at Caulke Abbey. The cooler than ideal interior was due to a
technical hitch with the heating but this didn't seem to affect the high
quality of the performance (Richard Roddis ensuring diction was projected
effectively, dynamics were observed and pitch was stable all underpinning
musical phrasing and direction).
The performing space was used effectively in Gabrieli's Lieto godea and
again in a three part round by Mozart (V'amo di core). The concert ended with
John Rutter's adaption of Kenneth Graham's The Wind in the Willows. A very
witty text (David Grant) gave opportunities for individual voices in the choir
to demonstrate their expertise.
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5th Mar 2013 - 19:30 hrs - Yeoman of the Guard - Leicester Gilbert
& Sullivan Society
The Little Theatre, Leicester
A colourfully cartoonesque set with deliberately distorted perspective
welcomed the audience as they took their seats (set design: Al Davis). Lead
singer Jane Hillyard sang and acted the part of Elsie Maynard convincingly and
there were several trio and quartet numbers where the cast held their pitch
through long acapella passages.
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2nd Mar 2013 - 19:30 hrs - The Bardi
Orchestra - Paul Hilliam - Linda Blackhouse (oboe) - Andrew Piper
(clarinet) - Mark Penny (horn) - Ceri Beaumont (bassoon)
St James the Greater Church, Leicester
Roger Swann = horn
A chance for four principal wind players of the orchestra to
demonstrate why they hold their titles. Collectively their performance of
Mozart's Sinfonia Concertante K297b certainly achieved this.
A good sized audience braved the cold temperature, uncomfortable chairs
and overwhelmingly "mushy" acoustic of St James. Their support is much
appreciated by the members of the orchestra.
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27th Feb 2013 - 19:30 hrs - Forest Chamber Ensemble - Richard Jenkinson
- Robert Parker + Stuart Bower (horn x 2) - Heather Prestwich (flute)
Recital Hall, Nottingham Boys High School, Nottingham
A very well attended concert presented by the Nottingham Music Club
gave Robert Parker and Stuart Bower a chance to demonstrate both their
technical and musical expertise and the quality of the writing by Haydn in his
Double Horn Concerto in E flat - or was it Haydn? Robert Parker's informative
programme note points out the degree of doubt behind the true authorship of
this work.
Heather Prestwich made light work of the technical challenges presented
by Mozart's Flute Concerto in D K 314. The piece ended with Haydn's Symphony
No. 6 (Le Matin) in which all orchestral solos (and there are many) came across
well with the bassoon (David Grant) particularly capturing the warmth and wit
of the work.
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23rd Feb 2013 - 19:30 hrs - Philharmonia Orchestra - Vladimir Ashkenazy
- Tamara Stefanovich (piano) - Elizabeth Watts (sop)
de Montfort Hall, Leicester
Listening to the Philharmonia twice in a week provides a chance to
compare the lists of players. In fact the two bands were quite different: 50%
different first violins were the extreme case in the strings, the oboes &
cor anglais were a completely different set of players and the only principal
player in the woodwind unchanged for both concerts was the excellent Amy Harman
on 1st Bassoon. In spite of this the violin sound impressed, particularly in
the Adagio movements in both Mozart's Piano Concerto No 21 K467 and Mahler's
4th Symphony.
What attracted your reviewer to this concert was the programming of
Nimrod Borenstein's "The Big Bang and Creation of the Universe", Op 52 (a
remarkably high opus number for someone born in 1969). The programming of
contemporary music is far too rare in the Philharmonia's Leicester concert
seasons. It was good that Borenstein was in the audience to acknowledge
recognition of his very well crafted work. With one of the main themes based on
a major triad and using fugal techniques throughout the work it did inevitably
sound a little derivative at times (hints of Gorecki Symphony No. 3 and the
music of Ennio Moricone?) but the use of the vibraphone definitely gave the
work an attractive colour. Programming panel: please let us have some more
music by today's leading composers.
The joy that Ashkenazy gets from conducting is obvious in his every
gesture. It's such a shame that the players can't bring themselves to smile
when brought to their feet at the end of the concert. Almost without exception
they really looked miserable.
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18th Feb 2013 - 19:00 hrs - Philharmonia Orchestra - CBSO Chorus - CBSO
Youth Chorus - CBSO Children's Chorus - Edward Gardner - Krill Gerstein (piano)
- Susan Gritton (sop) - Christine Rice (mezzo) - Allan Clayton (tenor)
Royal Festival Hall, London
Krill Gerstein enjoyed emphasising the dynamic range during his happy
performance of Shostakovich's Piano Concerto No. 2 in F Op 102
Britten's Spring Symphony Op 44 certainly merits from being heard live.
Again there were many striking dynamic contrasts and Edward Gardner (or credit
perhaps to Chorus Master Simon Halsey?) managed to get a vast sound from a
comparatively small number of singers. It's the colour of Britten's
orchestration that leaves the lasting impression particularly his
instrumentation of "simple" chords that turn them into magical moments.
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6th Feb 2013 - 19:30 hrs - Eugene Onegin - Robin Ticciati
The music carried this production. The deep rounded solid alto voice of
Elena Maximova (Olga) almost stealing the show from under the eyes of the two
excellent leads Krassimira Stoyanova (Tatyana) and Simon Keenleyside (Eugene
Onegin). The french horns sounded fantastic.
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2nd Feb 2013 - 19:30 hrs - The Bardi
Symphony Orchestra - Claus Efland - Christopher Herrick (organ)
de Montfort Hall, Leicester
Roger Swann = horn
It's always great to hear the magnificent organ of de Montfort Hall in
action, even more so when it is in the very capable of hands of someone like
Christopher Herrick who really knows how to drive the device to the extremes
and certainly did so in this performance of Saint Saens Third Symphony.
Laura Storer set the high standard for the concert in her opening Cor
Anglais solo in Berlioz' Roman Carnival overture. Claus Efland now has the
confidence in his orchestra to programme Haydn's Symphony No. 86 (Paris). This
repertoire requires playing with precision, sensitivity, grace and polish and
as such can be expected to expose any weaknesses in the orchestra. In fact the
players rose to the challenge and demonstrated that the orchestra should play
more music from the classical period.
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2nd Feb 2013 - 11:00 hrs - Sarah Simmonds (soprano) - Antony
Clare (piano)
St Peter's Church Centre, Nottingham
St Peter's Church in the centre of Nottingham runs a series of "coffee
morning" concerts during the months of February, June and October and if this
event was anything to judge by they are delightful occasions, well attended,
"make a donation" entry (thereby allowing (and indeed encouraging) access to
all) and covering a wide range of music.
The talented and versatile Sarah Simmonds brought out the luscious
romance in two of Schoenberg lieder (and it seemed a shame not to have the
complete set of four). In this context following these with three glorious
songs by Strauss seemed a perfectly appropriate progression.
Sarah chose to end her captivating recital with five songs by
Granados. Helped by strong sunshine streaming through her curly hair she
capture the sultry spanish heat in Elegia Eterna like a true senorita.
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29th Jan 2013 - 19:30 hrs -
London Sinfonietta
- Baldur Bronnimann - Sarah Gabriel (soprano)
Queen Elizabeth Hall, London
Part of the "Rest is Noise" year long festival this was a concert
devoted entirely to the music of the second viennese school of composers.
Sensitive accompanist John Constable was kept busy providing sensitive and
intelligent support for clarinet, cello and soprano Sarah Gabriel who seemed to
have no problem with the awkward leaps and high notes in Webern's 3 Leider.
The full ensemble enjoyed the colour and intensity in this music.
Virtuosic as ever (there was a great pianissimo horn entry from Michael
Thompson in Webern's Five Pieces for Orchestra for example) this group really
"sell" what can be difficult music to their audience. In the post concert
discussion, conductor Baldur Bronnimann described the music as "difficult to
conduct as what ever you do gets in the way".
There was a video presentation running simultaneously throughout the
concert (Video Artist: Netia Jones). Some interesting quotations and old film
footage between the pieces were mildly interesting but the video during the
music was simply distracting and seemed heavy handed and crude compared to the
sophisticated music (and musicianship) on show.
The players wore white tie and evening tails presumably chosen to
replicate the outfits that might have been worn when this music was first heard
over one hundred years ago. This was an interesting idea but again rather
jarred with the video aspect of the event.
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Trinity Methodist Church Centre, Loughborough
The flourishing Loughborough Orchestra presented an ambitious
programme including a very acceptable performance of Brahms 4th Symphony. The
success of the orchestra is aided by strong confident leading by Zosia Cocker.
First flute, Alison Parrott, watched the conductor which is always a desirable
feature and Jan Nisbet played an excellent sounding set of timpani with
accuracy and just the right dynamic level.
The orchestra were joined by Alan Thomas for a performance of
Rodrigo's Concierto de Aranjuez. His always effortless playing captivated the
audience. He is to be congratulated on his amplification set up: just enough to
make the balance workable but still sounding as if it was a purely acoustic
guitar of the highest quality.
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20th Jan 2013 - 19:00 hrs - Ute
Lemper - "Last Tango in Berlin"
Ute Lemper still manages an amazing slinky style of upper limb
movement as she seductively gyrates around the stage using her fluency of
German, French and English to chose words to emphasise the message behind each
sentence. She still has 100% command of her voice with great sound throughout a
well above average vocal range.
Wisely avoiding the temptation to have a drummer she chose instead to
rely solely on the excellent pianist Vana Gierig and the outstanding bandoneon
player Marcelo Jaime Nisinman from Buens Aires.
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19th Jan 2013 - 19:30 hrs - Helix Ensemble - Roger Coul
St Andrews Church, Countesthorpe
Roger Swann = horn
A cold wintery evening didn't stop an enthusiastic audience from
enjoying a performance of Andy Evan's "Joy of Small Things". The composer (who
made the trip from Scotland especially for the concert) seemed very happy with
the quality of the performance.
The concert also included a performance of Britten's Sinfonietta Op 1 -
the two fiddles (Sarah Cresswell and Andrew Chadwick) and the violist (Elspeth
Brian) clearly relishing the challenging of some spectacular string
writing.
Here's a picture of Helix Ensemble member, George Fletcher, braving the
elements to publicise this concert.
***********************************************************************
13th Jan 2013 - 17:30 hrs - The Britten Sinfonia - Thomas Gould
(directing from the leader's chair) - Angela Hewitt (Piano)
The Town Hall, Birmingham
The slightly unusual start time didn't deter a good sized audience who
enjoyed the startlingly accurate ensemble playing by this talented group.
Thomas Gould directed the orchestra who sounded tighter in Britten's "Playful
Pizzicato" than many orchestras manage with a conductor. It was fascinating to
hear the "Simple Symphony" followed by the same composer's Variations on a
Theme of Frank Bridge (Op 10) written only 3 years or so later but showing such
significant steps in compositional skill (in both senses of the word) that it
could have come from a different person's pen.
The orchestra was joined by the pianist Angela Hewitt who effortlessly
combined oh-so-gently carressing the keyboard where appropriate in Beethoven's
2nd Piano Concerto (Op 19) with conducting (more accurately perhaps "shaping")
the playing of the band's faultless sensitive accompaniament.
***********************************************************************
Christchurch Baptist & Methodist Church Hall, Clarendon Park,
Leicester
Conductor Jo Conquest got her orchestra to tackle a wide range of
pieces (ending with three movements from Beethoven's first symphony) in this
presentation of their autumn rehearsal efforts. It was great to see everyone
working hard at the challenging music but clearly enjoying themselves immensly.
The players definitely respond well to Ms Conquest's accurate rhythmic
baton.
The concert also featured a very generous supply of festive mince-pies
during the interval.
***********************************************************************
12th Dec 2012 - 19:30 hrs - 2nd Wind - Brian Humpherson MBE
Fraser Noble Hall, Leicester
Immediate impact was achieved by 2nd Wind with the opening chord of
Erik Leidzen's Christmas Joy - sounding very loud in this hall. This level of
excitement was maintained throughout this festive programme conducted by the
ever enthusiastic and inspiring Brian Humpherson.
***********************************************************************
11th Dec 2012 - 19:00 hrs - Carol Event Featuring Pupils from Houghton
on the Hill Primary School and the Houghton Singers.
St Catharine's Church, Houghton on the Hill, Leicestershire
Roger Swann = horn
John Swift (organ) and The Unique-Horns accompanied many school
children in this successful Christmas evening in the beautiful surrounds of St
Catharine's Church.
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7th Dec 2012 - 19:30 hrs - The Hough Ensemble
Nottingham Boys' High School Recital Hall, Nottingham
Starting with two rareties: Heinrich von Herzogenberg's trio for Oboe,
Horn and Piano and four of Max Bruch's Eight Pieces for Clarinet Viola and
Piano in an arrangement by Richard Denwood replacing the viola with a bassoon,
the meat of this concert was really in the performances of Rossini's excellent
Andante, e Tema con Variazioni for wind quartet and Beethoven's quintet Op 16.
The Hough Ensemble demonstrated impressive ensemble accuracy and Antony
Clare's piano playing provided a solid rhythmic foundation throughout. It was a
joy to witness the fruits of the commitment of the members of the Hough
Ensemble.
***********************************************************************
6th Dec 2012 - 19:30 hrs - "All I want for Christmas...." -
The Leicester Rock
Choir - Sarah Stevens, with guests Argento Brass and Scarlet
St Andrew's Church, Aylestone, Leicestershire
Roger Swann = horn (guest horn player for Argento Brass)
Sarah Stevens directed the Leicester Rock Choir, drawing precise
controlled diction and note lengths from the singers together with well drilled
choreography.
Special guests Scarlet, an acapella eight voice choir directed by
Willard Wellsford, chose a programme entirely appropriate for this Christmas
concert (which included mulled wine and mince pies for the audience) and the
festive sound of Argento Brass
helped send everyone home in a yule-tide mood.
***********************************************************************
27th Nov 2012 - 19:45 hrs - Be Like Water
A sort of "one man show" by Hetain Patel with a couple of interesting
video effects but featuring the flexible Taiwanese dancer Yuyu Rau and the
enchanting playing of Ling Peng on her Erhu (a Chinese two stringed bowed
instrument).
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24th Nov - 19:30 hrs - The Bardi
Symphony Orchestra - Claus Efland - Nikolai Demidenko (piano)
de Montfort Hall, Leicester
Roger Swann = horn
Claus Efland and Nikolai Demidenko managed to inject inspirational
freshness into a programme that could so often be simply a Tchaikovsky blat.
Demidenko's performance was accurately described as "awesome" by one audience
member.
Other notable highlights included the three flutes in the "Dance of the
Sugar Plum Fairy" and the front desks of viola's and cello's opening of the
1812 overture.
***********************************************************************
22nd Nov 2012 - 19:30 hrs - The Pilgrim's Progress -
English National Opera
The Coliseum, London.
A rare performance of Ralph Vaughan William's most significant opera
featured some first class "on stage" trumpet playing from Paul Mays and William
O'Sullivan and some very colourful and imaginative costumes in the "Vanity
Fair", particularly the dual personality ring master / pink fairy!
***********************************************************************
Gently miked and gently presented this was a relaxing end to the
weekend for your reviewer and a similar end to the London Jazz Festival.
Presented to one of the most cosmopolitan audiences imaginable Ara Dinkjian was
charming and beguiling both in his introductions and in his playing of the oud.
Sensitive keyboard and piano playing and some intriguing unrecognisable bowed
instrument playing from his colleagues helped make this a very enjoyable
evening.
***********************************************************************
17th Nov 2012 - 19:30 hrs - Market Harborough Choral Society -
The Bardi Orchestra - Anselm
Kersten
Robert Smythe Academy, Market Harborough, Leicestershire
Roger Swann = horn
Anselm Kersten always has clear ideas about what he wants from the
music. Sometimes his ideas are a little eccentric but they are always thought
provoking and challenging for both audience and performers alike.
The diction of the choir in the unaccompanied "God so loved the world"
by John Stainer was a credit to the conducor, as was the unearthing of a
completion of Mozart's C minor Mass by Dr Benjamin-Gunnar Cohrs, here receiving
it's UK premier.
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10th Nov 2012 - 20:00 hrs - Great Expectations
A very successful dramatisation of Dicken's great novel achieved a
great deal with a simple (but errie) set and a limited (in numbers but not in
quality) set of actors and actresses. A good example of how so often in
performance "little means more".
***********************************************************************
8th Nov 2012 - 17:30 hrs - Music for 2 Pianos 8 Hands - Anne McCrae,
Elizabeth Murphy, Marguerite Beatson
This concert was really about a group of friends having fun presenting
some interesting and rarely played works.
As a horn player your reviewer is aware of the difficulties of
performing quartets of four of the same instrument: it is very easy to get too
muddy a texture. 2 Pianos 8 Hands could easily fall into an identical trap (and
the similarity doesn't end there: 1st and 3rd pianist play the high parts and
2nd and 4th pianist play the low parts in the same way as a group of four horn
players!) but this was rarely the case tonight. In Smetna's complex Sonata in E
minor the four players created moments of genuine power.
It was interesting to hear Rachmaninov's Romance for piano 6 hands and
amusing to watch all four players squeeze onto two piano stools to play
Chaminade's Les Noces d'Argent for piano 8 hands.
A welcome break from the piano sound was provided by two short but very
tidy spots from "Tea for Three" (Marguerite Beatson being joined by David and
Robert Calow (flute + Clarinet)).
***********************************************************************
4th Nov 2012 - 19:00 hrs - YouthFindaVoice 2012 - Leicestershire Choral
- Bardi Symphony Orchestra - Tom Williams - Tim Morgan (countertenor)
de Montfort Hall, Leicester
Roger Swann = horn (in a rather routine arrangement of tunes from West
Side Story)
The first half of this tenth anniversary event was a show case for a
varied range of school and youth choirs from Leicestershire. An ecclectic range
of styles were presented making it a fascinating series of contrasts - all
good.
The second half combined all the singers together with the
Leicestershire Choral and the Bardi Orchestra to give a first class performance
of Bernstein's Chichester Psalms. The choir sounded strong, rhythmically tight,
in tune and most importantly they sounded like they were loving every minute of
it. Tom Williams really knows how to make a choir work together in a short
space of time. Tim Morgan's countertenor was a wonderful bonus too. This was
choral music making of an inspirational quality, exactly what "YouthFindaVoice"
is all about.
***********************************************************************
3rd Nov 2012 - 19:30 hrs - University of Leicester Sinfonia - Michael
Sackin - Robert Jones ('cello)
Fraser Noble Hall, University of Leicester
Roger Swann = horn
It is always interesting to accompany a soloist at the start of their
career, particularly so when they show plenty of potential to "go places" as is
the case with Robert Jones. He was certainly not afraid to pull the tempos
around in his expressive performance of Elgar's moving 'Cello Concerto (Op 85).
This was very definitely the interpretation of a confident young man, no doubt
some of his musical gestures will refine as he ages.
In an example of characteristically thoughtful progamming Maestro
Sackin chose to follow the E minor Cello Concerto with Elgars understated
lilting Salut d'Amour (Op 12). Being in E major this felt like a subtle form of
the "picardy third" and ensured that the audience proceeded to their interval
wine on a happy note!
***********************************************************************
27th Oct 2012 - 19:30 hrs - Joseph and the Amazing Technicolor
Dreamcoat
Good Saturday night entertainment with Tim Rice's somewhat cheesey
lyrics and Andrew Llyod Weber's very hummable tunes making this a colourful
show.
***********************************************************************
21st Oct 2012 - 19:30 hrs -
The Central England
Ensemble - Anthony Bradbury - Ondrej Vrabec (horn)
The Town Hall, Birmingham
The people of Birmingham are lucky to have the wonderful Town Hall as
an additional auditorium to Symphony Hall. It is clean and airy inside without
feeling cold and unwelcoming and has an attractive accoustic. Being not too
large it is perfectly suited for amateur groups such as the The Central England
Ensemble who performed to a high standard throughout their challenging
concert.
The world premier performance of Andrew Downes' Horn Concerto was
played by the principal horn of the Czech Philharmonic, Ondrej Vrabec. He makes
a sound to die for throughout the extended range called for by this
straightforwardly tonal work . There were several enjoyable moments of
"conversation" between the soloist and the writing for the orchestral horn
section. In the outer two movements the composer never strays too far from the
hunting horn parentage of the instrument. The central slow movement featured
some very sweetly controlled pianissimo playing from the soloist.
The final movment featured many assymetrical time signatures and
Anthony Bradbury's tight rhythmic beat drew impressive stability from the
orchestra - which must have come as great relief to the soloist!
***********************************************************************
Town Hall, Loughborough, Leics
Roger Swann = horn (only for the 20th Oct performances of the week long
run)
Greasepaint drafted in a load of younger people for this full scale
ultra-colourful production of the well known fairy tale. What a fabulous
introduction to theatre this must have been for them. Words and music by George
Styles and Anthony Drewe (including some inevitable corny one-liners) the
particularly tricky score was held together by expert MD James Stevens.
***********************************************************************
15th Oct 2012 - 19:30 hrs - Philharmonia Orchestra - Juraj Valcuha -
Renaud Capucon (violin)
de Montfort Hall, Leicester
It was disappointing to see the Philharmonia attempt Mahler 5 with only
four desks of 'cellos. Interesting to note a programme listing a great many
"guest principals" of which only the guest lead viola (Ida Bryhn) impressed. A
common complaint of ten years ago was the drowning of quality string playing by
over loud brass and horns played to a technically superb standard but still
sounding monotonous. Your reviewer had been believing that the London
orchestras were moving away from this problem, but tonight's concert was
definitely evidence to the contrary. The percussion and timps were often way
too prominent too.
***********************************************************************
13th Oct 2012 - 19:30 hrs - The Kingfisher Chorale - Piffari -
Giles Turner
St James the Greater Church, Leicester
A fascinating musical and educational experience, this event was
publicised as "Adrian Willaert, The Missing Master?" and it presented a strong
case in favour of the title. The life and development of compositional style of
Adrian Willaert (c 1490 - 1562) was brought to life by some splendid singing
from this accomplished choir.
Willaert's Kyrie from Missa de Mente Tota contained some extremely
modern sounding tonal clashes, particularly in the bass line.
No stuffy bow ties to put off an audience (the choir and conductor
dressed in smart all black), everything about this event was how a concert
should be. Giles Turner's introductions had wit, brevity and informed
intellegence. His choice of material was varied (and extremely challenging for
the choir who showed no traces of difficulty responding to this) and the
complimentary concert programme contained copious notes about the composer's
development.
Piffari, a three piece sackbut ensemble, provided an additional
positive input to the evening with playing that surely must have won over any
"sackbut sceptics" in the audience.
***********************************************************************
12th Oct 2012 - 19:45 hrs - The Lighthouse - English Touring Opera -
conductor Richard Baker
Peter Maxwell Davies' chamber opera of dates back to 1979 and was
inspired by a real life incident in 1900 when three lighthouse keepers
disappeared without trace. A curious mystery to which Peter Maxwell Davies' own
libretto speculates on the demise of the three gents without actually giving
the audience an absolute knowledge of the final events. Excellent singing from
all three of the cast (Adam Tunnicliffe, Nicholas Merryweather and Richard
Mosley-Evans) made this a riveting bit of theatre. The music captures and
enhances the different moods on the stage superbly.
It was good to see Peter Maxwell Davies in the audience enjoying this
production.
***********************************************************************
9th Oct 2012 - 19:45 hrs - Derby Music Club Meeting: Mountsorrel Wind
Quintet & East Midlands Horn Sound
The Voice Box, Derby.
Roger Swann = horn (in East Midlands Horn Sound)
The ever enterprising Derby Music Club gave the Mountsorrel Wind
Quintet the opportunity for their first concert and very slick they sounded
too. They included two movements from the rarely performed Sextet by Hydas
Frigyes with guest Bass Trombonist Alan Griggs.
Nigel Moore had organised the East Midlands Horn sound for this event
and they certainly enjoyed the chance to work at some of the eight horn
repertoire. Balazs Hegedus was awesome in the low horn solo in Paul Pritchard's
arrangement of Rossini's La Danza.
***********************************************************************
4th Oct 2012 - 19:45 hrs - Albert Herring - English Touring Opera -
conductor Michael Rosewell
A presentation of Britten's chamber opera (that always reminds your
reviewer of Ronnie Barker's "open all hours") with an excellent cast capturing
the everyday characters that we all know exist (at least in our minds) in rural
villages throughout England. What makes the opera work is the enjoyment of
seeing such personalities interacting precisely to their real life role models
so well. Albert Herring (ending up spending some of his prize money in the pub)
is at least given a happy ending.
English Touring Opera had the Aurora Orchestra in the pit. This young
band certainly had plenty of spirit and "went for the music" even if at times
this meant the occasional fluffed note.
***********************************************************************
St James the Greater Church, Leicester
Tonight saw one of the Bardi Orchestra's most frequent leaders take
charge of members of the orchestra's string section as well as playing the
demanding solo part in Vivaldi's Four Seasons.
Three English composers were represented in the first half with Holst's
St Paul's Suite being the most energetic; perhaps it's eastern influences
particularly suiting Adam Summerhayes interest in the gypsy fiddle
tradition.
The viola section (always vital in establishing a distinctive
orchestral string sound) impressed throughout and Sam Goldsworthy('cello) and
Elizabeth Jones (keyboard) provided expert continuo in the Vivaldi. It was very
satisfying to hear and witness so much listening and watching from the string
section members. Events such as this can only strengthen the (already good)
quality of the orchestra strings.
***********************************************************************
27th Sept 2012 - 20:00 hrs - In the Locked Room & Ghost Patrol -
Music Theatre Wales - Conductor Michael Rafferty
Music Theatre Wales touring production of two new operas. In the Locked
Room (Huw Watkins to a libretto by David Harsent) examines the relationship
between a lady and a poet in a deliberately confused manner such that the
boundaries between fact and fantasy are difficult to distinguish. Ghost Patrol
(Stuart MacRae to a libretto by Louise Welsh) tackles the way to ex-soldiers
deal with their recent experiences on the front line.
Ghost Patrol was perhaps the more ambitious of the two in terms of
music, testing the talented orchestra of Music Theatre Wales to the full. In
both works the vocal balance was excellent, the singing and acting good and the
overall effect of each opera very thought provoking.
***********************************************************************
23rd Sept 2012 - 20:00 hrs - The Wotsits
The start of a new concert season and what better way to start than the
belated (big zero) birthday celebrations of Jo Conquest - an established (and
excellent) flute player and teacher in Leicestershire who also has a strong
side-line in conducting.
The Dog & Gun provided an excellent meal and the guitar and vocal
duo "The Wotsits" provided music of a similar quality. Front man DK Alexander
had a good high tenor voice ideally suited for the 60s and 70s covers that
provided the bulk of their material. Left handed guitarist Terry Bull did a
professional job fillng in rifts. DK Alexander also had a good stream of
one-liners which kept your reviewer well amused but seemed to be missed by many
others present.
The musicians persuaded Jo Conquest to join them towards the end of the
evening and the result was a very favourable rendition of Gershwin's
Summertime.
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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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