Concert Programme and Reviews

Concert puts spring in step

The rain and wind of a particularly miserable evening did not deter a large audience, of all ages, from turning up to enjoy Harrogate Symphony Orchestra's Spring Concert.

The audience was treated to a well-balanced programme of both poplar and lesser-known works from a time period of more than 100 years. A masterpiece by Mozart and a delightfully quirky ballet suite by the rarely performed Ottorino Respighi were contrasted with all the grandeur and familiarity of a Beethoven symphony.

A gem of the evening's music was Georges Bizet's two L'Arlesienne Suites. After a strong and convincing unison opening, the dramatic first movement presented a rousing dotted rhythm passed around the orchestra. The beautiful sound of the harp and some sensitive playing from the orchestra assured the atmospherics of the movement were not lost. The minuetto second movement was particularly notable for its antiphony, carried off well by the orchestra, while the unaccompanied strings handled the gentle, romantic third movement with delicate precision. The last movement is entitled Carillons, (bells), and this idea is represented by a three-note ostinato on the horns, which counterpoints an open theme played by the strings. Conductor Bryan Western ensured the orchestra captured the dramatic dynamics.

There is some doubt as to whether the rather neglected Sinfonia Concertante is a genuine Mozart piece. however, the unmistakable Mozartian quality of the piece suggests its origin cannot be questioned. The work's intrigue lies in its employment of four soloists, Christ Garbut, oboe, Chris Armitage, clarinet, Andy Williams, horn and Susanna Lewis, bassoon, provided an excellent quartet, producing note-perfect performances and bringing out a unity within the orchestra.

After the distinctive opening theme on the strings, the soloists enter. The strings were thereafter appropriately sensitive, allowing the soloists to be heard clearly. The soloists played well against the orchestra and against each other; the clarinet was particularly cautious in its dynamics to allow the less strident oboe to sound out. The second movement is characterised by extremely Mozartian meandering themes passed between the soloists and the strings. An imperfect cadence resolves into the third movement, a theme and variations movement, with the theme shared brilliantly between soloists and orchestra. This was an excellent and solid performance from the orchestra, soloists (members of the HSO) and conductor alike.

The first half of the concert was rounded off by the extremely enjoyable ballet suite La Boutique Fantasque (The Magic Toyshop) by Respighi. The work's cosmopolitan feel is enhanced by the use of simple folk tunes, embellished with big romantic harmonies. The orchestra captured the contrasts well. The percussion was prominent as the strong rhythmic ideas were solidly expressed and the dramatic fortes came through well. In contrast the chromatic harmonies and lengthy slow and gentle sections created the appropriate romantic atmosphere. solos from clarinet, lead cello and violin stood out in a memorable performance.

After the interval the second L'Arlesienne Suite was performed. In the first movement dramatic, romantic passages were contrasted nicely with lyrical sections dominated by the woodwind. The strength and passion of the second movement came across particularly well, with the orchestra holding together convincingly during the forte unison sections. The third movement was notable for the opening harp motif and the lovely flute solo. In the forth movement the rousing opening melody contrasts with the following dance-like section.

The best-known piece of the evening suffered being at the end and the orchestra's concentration lapsed a little. Bit it was still an excellent rendition of Beethoven's 2nd Symphony. In the first movement, the difficult contrasts between sudden bursts of sound and the distinctive triadic themes were handled well. The serene second movement was observed with particular grace and sensitivity, while the playful, intricate textures of the third movement received a solid, rhythmic backing from the basses. Although the orchestra was untidy in places, the oboes and bassoons shone out during the solo sections of the trio. The joyful and enthusiastic opening burst of the fourth movement contrasted well with the following lyrical section. Attention to dynamics and articulation ensured the light and exuberant mood was captured. Evident effort was put into the final rousing coda to conclude an evening of excellent music, punctuated with the usual amiable humour from Bryan Western.

- Adrian Price, Harrogate Advertiser