Concert Programme and Reviews

Revival of a little-known work by Harrogate composer.

Harrogate Symphony Orchestra opened its 2005-2006 season with a contrasting choice of programme before an excellent audience on such a cold, wet evening.

The concert opened with Weber's Der Freischutz Overture. After a slightly nervous start in the strings, the horns showed fine form in the introduction.

The conductor lead us through the various dramatic changes with great conviction, bringing out Weber's ever changing orchestral colours from his players and leading us to the overture's triumphant conclusion.

The orchestra then performed Heroic Elegy by the Harrogate composer Ernest Farrar. The work had only been played once before - on July 3 1918 in the royal Hall by the Harrogate Municipal Orchestra, conducted whilst on leave from his regiment, by Farrar himself. Farrar died in France on September 18 at the Battle of Epehy Romsay.

The orchestra did not capture the mood of the elegy with its 'solemn restraint' perhaps due to the temp being too quick and a lack of empathy with the piece.

Important entries by the trombones leading to the funeral march showed a lack of confidence when a full rich tone was required. However, the horns' sound was always well placed.

It was a pity the audience, the majority not knowing the piece, was left uninformed about the Elegy and as this was only its second performance, the programme should have included a short synopsis. This was an unfortunate omission.

the first half of the concert concluded with Mozart's Violin concerto No 3 with soloist Peter Cropper who formed the acclaimed Lindsay Quartet some 40 years ago.

Peter Cropper treated us to a fine performance, his clean, clear sound ideal for Mozart. The orchestra was reduced to strings, two oboes and two horns and Bryan Western controlled his forces well as the string section could easily have overwhelmed the soloist.

The contrasting moods of the first two movements were well realised by both soloist and orchestra, with the oboes and horns, although used sparingly, adding extra colour.

The last movement was a delight, soloist and orchestra enjoying the "varied rhythms with which Mozart enlivens the several transformations of the chameleon-like rondo".

From the opening bars of Dvorak's 8th symphony the players seemed to be more relaxed and settled immediately into this most Slavonic of the composer's symphonies.

The church-like opening theme in cellos and clarinets with sonorous accompaniment contrasted with the simple tune on the flute. All aspects of this movement were played with great musicality, displaying all the colour and contrasts associated with Slavonic music.

The orchestra captured the atmosphere of the second movement well with each section, as a team or as soloists, playing beautifully.

The strings were most impressive, showing an ability to produce a well balanced, big sound when the drama required but this was always matched by sensitivity when accompanying.

The fine playing continued throughout the third movement with its pleasantly melancholic opening section and a delightful waltz in the Trio.

The high standard of playing was maintained throughout the last movement when Dvorak asks for subtle changes in tempo in the early variations with changes of mood in others.

The orchestra's enjoyment shone through and lead us to the work's exciting conclusion.

- Neil Richmond, Harrogate Advertiser