Concert Programme and Reviews

Conductor's Superb Rapport With Orchestra

Conductor Bryan Western explained why the orchestra was assembled along the west wall of the hall instead of the north wall as on previous occasions. It was to avoid the sloping roof projecting a barrage of sound into the audience and there was, in fact, definite improvement with the sections of the orchestra now more distinct.

Wagner's Lohengrin, based on the legend of the Holy Grail, opens with ethereal strings with occasional statements from the woodwind. The strings set the scene, then the tension increases as the low strings and brass combine to produce an expansive sound. The drama of low strings and full brass gives way to the strings and flutes as the pitch rises to produce an ethereal ending - depicting the rise of the grail to the heavens. This was a fine performance with the control of dynamics and mood meeting Wagner's intentions.

The soloist in the Concerto for Violin and Orchestra in D Minor by Sibelius was Richard Fletcher, well known locally. He is in the final year of a music degree and intends to continue his studies in the field of medicine.

This concerto is a favourite among violinists because of its passionate melodies and the technical challenges. The first movement opens with muted strings and the almost immediate entry of the soloist with a haunting melody. It contains two cadenzas and a complex rhythmic interplay between violin and orchestra brings the movement to a close.

The second movement is a lovely cavatina introduced by the woodwind with demanding double-stopping in the solo part.

The relentless drive of the final movement in which the soloist and the orchestra appear to urge one another on like a 'Danse Macabre' ends abruptly on the final chord. This was a fine exhibition of violin playing from such a young player - there was no lack of passion or technique. The balance between orchestra and soloist was well maintained and the rapport between conductor and soloist was evident.

The Four Sea Interludes from Peter Grimes by Britten depicts Dawn, Sunday Morning, Moonlight and Storm.

With the strings, with interruptions from flute and piccolo depicting the dawn chorus, clarinet cadenzas portraying the stirring and the percussion and brass producing a climactic full awakening of the day, we were treated to a wonderful soundscape of 'Dawn'. In 'Sunday Morning' horn chords mimicked church bells and the interplay between sections of the orchestra, with constant rise and fall in both dynamics and pitch, depicted the arrival of people from all directions and finally a calmer period as they went home. This excellent example of descriptive music continues with the smooth sounds and swells of 'Moonlight' and the drama of 'Storm'. This was a very enjoyable experience.

In Variations on a Theme of Haydn by Brahms, the theme is initially established, then the composer's skill in the use of variations of tempo, mood, rhythm and phrasing, together with subtle changes in the harmonic flow, elaborations and timbre of the instruments (e.g. muted strings), produced a cascade of variations. The subtleties involved were well portrayed by the orchestra.

The audience was again treated to a fine evening of musical entertainment and the continued success of the HSO is, I am sure, in part due to the excellent rapport that exists between Conductor Bryan Western and the orchestra.

- Mike wilkins