The Sussex Concert Orchestra has become a regular visitor to Hastings Week and brought the annual celebrations to a fitting and exciting climax at St Mary in the Castle last night. Opening with Tchaikovsky’s 1812 Overture was something of a gamble as it is frequently used as a climax. In this case the panache needed to carry it off was not lacking, even if some of the attack was not as precise as might be expected. The percussion section was certainly enjoying itself at the end.

Jessica Zhu won the Hastings Piano Competition in 2011 and returned to perform Schumann’s Piano Concerto. The originally planned Prokofiev would have been more interesting for both orchestra and audience, though maintaining a wholly romantic programme did make sense. Her approach to the Schumann was remarkably dry and unemotional, not that it lacked commitment but that the sentimentality of some of the scoring was never in evidence. The rich orchestral accompaniment was well developed without ever overwhelming the soloist. The Andantino grazioso was particularly effective with its gentle mood changes.

After the interval we heard Dvorak’s Eighth Symphony, which brought us some fine solo playing from the lead flute and trumpet, and a beautifully flowing cello line at the opening of the final movement. The brass section was rightly raucous in the finale, bringing the evening to a fine close. Throughout, Kenneth Robert had steered his forces with aplomb. It is not easy, even with professional musicians, to produce finely rounded performances within very limited rehearsal times, and it is a tribute to all concerned that professionalism shines through with these musicians.

St Mary in the Castle is a small venue where orchestral music is concerned but its fine acoustic blends and softens sound without blurring details. That it might be lost to us would be a tragedy, and occasional outings like this only serve to remind us how short-sighted any closure would be. BH

 The meeting on 9 October coincided with Hastings Week and so made a fittingly celebratory occasion both for the members and the church. Tom had chosen a broadly-based programme which aimed to show off the many attributes of what might appear to be a small instrument.

He opened with two voluntaries by Blow and three short pieces by Clerambault. Though quietly focussed hey showed a fine command of tone and delicate texture.

More warmth was evident in Bach’s Chorale Prelude Jesus, meine Zuversicht which was followed by an intimate reading of the Chaconne from Handel’s G minor Organ Concerto. In Stanley’s anniversary year it was good to hear the introspective voluntary No 2 in D minor followed by the popular Trumpet Tune. Across these two Tom was able to highlight the Cornet and the Hautboy.

Now we came to the tricky part. There is no Voix Celeste on this baroque instrument, but by careful placement of the stop mechanism one can produce a creditable tremulo and string sound. Highly impressive!

Brahms’ Chorale Prelude O Gott, du Frommer Gott proved to be a romantic interlude before more challenging but warmly appreciated works. Alain’s Le Jardin Suspendu works remarkably well on this small instrument even if it needed a tactful third hand from Stephen Page to fill in the missing pedal. We then heard two works by the organist himself – a delightfully gentle Fantasia on o Lux Beata Trinitas and the increasingly familiar Fanfare for the Snetlzer. The atonal intensity of the writing of this latter work prepared us for the final two pieces by Messiaen. Force et Agilite des Corps Glorieux has presence and power, while Priere du Christ Montant vers Son Pere could surprisingly have been written for a chamber organ, so well does it sit.

The next meeting of 1066 Choir & Organ will be at the Manor Barn on Tuesday 20 November for an evening dedicated to Bath and William Herschel. Details from lark1066@aol.com  BH

Tom McLelland-Young celebrated his 75^th birthday at the Unitarian Church on Sunday 9 September with performances of a wide range of his own compositions. Joined by a small group of friends, he opened with an early setting of Matthew Arnold’s Come to me in my dreams sung by soprano Pamela Hall. The accompaniment is romantic, almost sentimental at times, but there is a hint of the austerity which is to feature widely in his more recent compositions.

The Adagio Barocco is a pleasing pastiche which has a finely wrought melodic line for the violin solo. An accomplished improviser at the organ, it was interesting to see that Tom was filling out the organ part essentially from the violin solo line – as would have happened in the eighteenth century.

A short song cycle with texts taken from Wordsworth’s Lines written above Tintern Abbey opens darkly, hinting at the landscape rather than trying to paint it in any detail and concentrating on the emerging emotional reality of the text. The last song speaks of the sad music of humanity which Tom captures succinctly and poignantly. It is not an easy work but tenor Andrew Johnson had the measure of its structure.

Tom admitted that the Violin Sonata might be challenging for the listeners but, while agreeing that it is, I found this the most substantial work of the afternoon. It opens with suppressed emotion which is allowed to explode in the denser textures of the second movement, before sliding away into silence at the end of the third. Michael Lovejoy’s solo violin playing supported the intensity of the line and the emotional truth which it brings, as well as giving us frequent moments of intense beauty.

The delicate Fantasia on  O Lux Beata Trinitas for organ solo preceded the Fanfare for the Snetzler. This latter work was composed for the inauguration of the rebuilt organ and it was fascinating to hear it, in a slightly revised version, played by the composer.

The concert ended with a setting of Dover Beach for soprano and tenor, where once more Tom’s ability to suggest the landscape and the emotional impact of the text with the simplest of textures was very impressive.

Towards the end of the setting the singers tell us they bring the eternal note of sadness in. If sadness is often at the heart of Tom McLelland-Young’s compositions, so is the sense of stoical resolution and even optimism beneath the weight of the world. It was very good to hear these pieces and I hope Tom will be encouraged, with his friends, to bring us other examples of his work soon. BH

St Mary-in-the-Castle, Hastings 24/25 August 2012

Over two days new works by 15 composers were performed in three concerts in this festival  produced by Hastings-based composer Polo Piatti.  Nigel Hess and Patrick Hawes were among them, together with Nobuya Monta, attending from Japan.  Local composers were also taking part, including Thomas McLelland-Young,  Jonathan Bruce & Louise Denny. Many of the composers were also in attendance and took part in discussions with each other and with other festival goers. The festival’s broad theme was “Beauty”.

Some of the composers were involved in their own performances as well as in performing the works of others. Also featured were the London Gala Orchestra, members of Hastings Philharmonic Choir, soloists and accompanists.

The keynote speech was given by Nigel Hess, giving some insights into his own work as a composer, including television, film and stage work. He gave illustrations on the piano and managed  a lively and entertaining Question and Answer session. Local resident and BBC radio broadcaster & researcher Richard Sumner spoke on “Plato’s Aesthetics – the true meaning of beauty”.  Festival organizer and cultural anthropology expert Daniela Othieno talked about the idea of the Romantic in music, in the wider arts and its relationship to conemporary music.

The majority of works featured were firmly based in the tonal tradition but within this there was some variety of harmonic and structural approaches. Many of the composers would say that they were champions of melody and perhaps see themselves as reactionaries against a prevailing culture of music that is less accessible and seen by many as being less emotional. Much of the discussion throughout the weekend focussed on these ideas.

Notable performances were given by Tyler Hay, a young virtuoso pianist. He performed two of Simon Proctor’s works which drew on a number of styles – Rhapsody No 21 and Paganini Metamorphosis. The choir’s presentations of Kate Dunn’s Dei Gratia and Soledad Para Dos by Polo Piatti (with lyrics by Kate Barnwell) were particularly pleasing. Thomas McLelland-Young’s 6 Songs for high voice & harp  were given a highly polished performance by Sarah-Jane Dame & Luisa-Maria Cordell.  Andy Meyers’ Aphrodite played by daughter Maria on recorder and the composer on piano was a particularly evocative portrayal of the story of Aphrodite’s birth. Nigel Hess’ The Statue from The Winter’s Tales’ was beautifully performed by the orchestra as was Swan by Patrick Hawes  and Nobuya Monta’s Concerto for Clarinet & Strings with Sarah Thurlow as soloist.

There was a range of quality of composition and performance throughout the event  and as with any new venture there are obviously improvements that can be made for the future. It is to be hoped, however, that this was the beginning of a regular festival. The presence of so many composers, the interest and excitement of hearing so much new music and the inclusive and welcoming  ethos was all very stimulating. Whether attending  as a composer, performer, participant in discussion or member of the audience there was much to enjoy and benefit from.

The event closed with Tango Allegre for choir and improvised piano composed and performed by artistic director Polo Piatti (piano) and Hastings Philharmonic Choir. The two conductors involved during the weekend Stephen Ellery & Aleksandras Simelis brought the house down as they took turns to conduct this final item and together danced a nifty tango. Polo Piatti should be congratulated on what he achieved. SP

Gordon Stewart brought the 24^th All Saints summer series to a triumphant close last night and will surely do so again this time next year at the end of the Silver Jubilee series. Such is the enthusiasm of the Hastings audience and the continuing professionalism of the organist that this relationship has lasted so long. There can surely be few, if any, other series with such a history.

Gordon Stewart stays in Hastings for the Bank Holiday weekend, practising each day. If therefore there were any concerns about his choice of registration they are as the result of careful thought and not last minute judgement. No problem with the rich textures of the opening section from Respighi’s The Birds but the orchestral parts for Handel’s Cuckoo and the Nightingale sounded over romantic. If Bach’s Toccata, Adagio and Fugue started with some questionable rhythmic choices it settled quickly and the final fugue was strongly focussed, with a sense of pace and drive.

Gordon Stewart is a master at finding unfamiliar works which challenge us by their quality. Callaerts’ Toccata in E minor brought the first half to a close with an heroic romanticism which drew on all the qualities of the Willis organ, and this after a delightful trio by Felton using the Swell flutes.

Equally acceptable was Parry’s Fantasia and Fugue in G which may have required extra gym sessions prior to performance but the dexterity of the articulation was never in doubt.

Ketelbey’s In a Persian Market is rarely heard today and conjures up memories of the Light Programme in the 1950s, before two works to mark the Jubilee and the Olympics – W T Best’s Variations on God Save the Queen and Elgar’s Imperial March. As not every member of the audience is an organ buff it was good that Gordon pointed out the use of the Viola Pedal stop during the Best, one of the gentler but very effective ranks on the Willis.

As an encore he played the last movement of Bach’s First Trio Sonata. This was possibly the most effective piece of the evening, with simplicity, great clarity and rapt concentration from all on the beauty of the music.

The Silver Jubilee season is already fully planned. Watch this space for details! BH

Hastings Unitarian August 11 2012

Despite the sudden appearance of rarely-seen sunshine in this unreliable summer, the audience almost completely filled the Unitarian Church for an hour’s entertaining revelation of the intricacies of  the recently refurbished 1770 Snetzler organ.  This shining instrument and the expertise of Stephen Page combined in a musical journey from the sixteenth century to present day.

With Stephen’s concise and oft times witty introductions to each piece, the afternoon passed in a whirl of sound, beginning with a Fanfare and Festival March in sparkling style by Herbert Wareing, with an example of a sixteenth century dance rhythm to follow.

The father of the Bach dynasty Johann Sebastian was represented by a chorale prelude and a ‘miniature’ of a chorale prelude and fugue. A set of five variations on a theme by the prolific Dutch composer of the Elizabethan era Jan Sweetlinck was indicative of the extended research Stephen devotes to these programmes. 

From two centuries later came works by Brahms and Handel, coming up-to-date with variations on the theme of Rule Britannia by Latour including a hornpipe and a gavotte.

A film theme Gabriel’s Oboe led into a charmngly light-hearted piece by the celebrated one-time organist of Liverpool Cathedral, Noel Rawsthorne, Dance of the Butterflies, the programme closing with a march Dignity and Impudence by the Bournemouth-born composer Percy Whitlock, whose music is currently receiving  a well-deserved resurgence of interest.

The third in this series of programmes tracing the development of music written specially for or being adapted for the organ is on Saturday October 13 at 2.30 p.m. when again Stephen will delve into the musical archives to produce something with which to intrigue and entertain us. MW

Tom Bell can be relied upon to challenge and excite, and his concert on 20^th August was no exception. In the first half he played an arrangement of the final scene from Philip Glass’ Satyagraha. The precision of his timing and the fluidity of phrasing was spellbinding. If it too easily helped some to drift off into their own worlds it equally galvanised others to experience every note and every subtle inflection. The brilliance of the writing was matched by registration which enabled us to experience the score in all its detail.

By total contrast he opened the second half with a performance of Ligeti’s Volumina. Tom has always been a good raconteur and on this occasion it was necessary if we were to understand the way he approached Ligeti’s graphic score. The large screen also came into its own as we were able to follow with ease the lighting changes in registration and the technique necessary to perform the work, which requires the use of both arms and feet across the pedal board, as well as the most fluid of arpeggios. It was not only very exciting but musically convincing. This is the second time Tom Bell has brought works by Ligeti to Hastings; let us hope it is not the last.

Though the rest of the programme was impressive it could not quite meet this level of excitement, though the three Bach items in the first half were again given wonderfully apt registration and colour. The evening had opened with a richly textured reading of Henri Mullet’s Carillon Sortie, and the first half drew on a love of trains with the organist’s own arrangement of Coronation Scott.

Byrd’s A Fancie acted as a delightful sorbet between the Ligeti and the weight of Jongen’s Sonata Eroica which brought to evening – almost – to a close.

The encore was an improvisation on Three Blind Mice. We could have gone on all night, but as Tom was due to go off on holiday the next day it would have been unfair to have kept him longer. He will be welcome back any time. BH

Thomasin Trezise, mezzo-soprano; Toby Sims, baritone; Kenneth Roberts, piano

There is a subtle art to a lunchtime concert. Audience members bring their lunch and need music which will ease their digestion as well as entertain their minds. The mixed programme on this occasion went a good way towards meeting both ends.

Thomasin Trezise’s generous voice easily fills the church and was at its best in the emotive world of Catalani, though she brought delicacy and clear diction to songs by Purcell and Arne. Her ease of communication was also evident in Hello, young lovers.

Toby Sims’ solo numbers were more challenging. While he pleased with two numbers by Flanders and Swann, his other choices were more demanding. The aria from Gianni Schicchi really needs the audience to follow the text closely if it is to make any real impact; fine for those of us who know and love Gianni Schicchi and, could thus enjoy the performance, but somewhat puzzling for those who do not. Claggart’s monologue from Billy Budd is a wonderful piece of writing but, as a stand-alone, seemed ill suited to a lunchtime recital.

Two duets brought the singers together, a tongue in cheek rendition of La ci darem la mano and a more overt reading of Bess, you is my woman now to end the performance.

Kenneth Roberts accompanied with aplomb throughout, seeming more at home with the operatic items than the lighter pieces.  BH

Next week 22 August at 1.10pm sopranos Lucy Ashton, Anya Williams and Imogen Willets are accompanied by Ivora Rees.

De La Warr Pavilion, Bexhill 

Saturday July 28

Brahms is generally regarded as a composer of ‘serious’ music but his Academic Festival Overture from 1880 which opened the evening was the exact reverse. With the brass secion to the fore, it rolled merrily along, largely versions of students’ songs, ending with the traditional Gaudeamus Igitur which most recognise.

Continuing in this joyous vein was Dances of Galanta from the pen of Hungarian composer Zolan Kodaly a homage to his home town.  Kodaly emulated the British folk song expert Cecil Sharpe, in travelling countrywide collecting the words and music of folk songs and national dances.  Some of the former were designed to encourage military recruitment, some were solely for recreation. Welded together, they made an attractive contrast.  The introduction of the czardas, the national dance of Hungary, made an attractive prelude to the outstanding feature of the work, a breath-taking extended section for clarinet, a solo which the audience truly appreciated, expertly played with assurance by the leader of the woodwind section Luke Wiltshire. 

Sibelius’s Fifth Symphony in E flat major, universally acknowledged as his most popular work after Finlandia, reflected his love of nature with instruments representing its various aspects. In the first movement, the woodwind served as the birdsong, the strings the breeze through the trees, with the lower-registered instruments combining in sombre recognition of the vast wildernesses of the composer’s homeland. The second movement opened in bright dance form, but swiftly changed to an almost threatening atmosphere. The last movement began with the strings, then the horns, repeated by the double basses joining in a crescendo of sound ending on a sequence of six impressive chords by the entire orchestra.

Colin Metters founded the Youth Orchestra over three decades ago and has conducted every end-of-the-academic-year occasion ever since.  Surely this must have been the most impressive of all? The audience, including amongst its distinguished guests several professional musicians, certainly thought so.

A considerable number of the players will be going in September to Music Academies or University music courses and we wish them every success in their chosen – and sometimes hazardous – profession. For those heading for more conventional careers, they will assuredly look back on their time with the Music Service with affection and carry with them a lifetime’s joy in music.  MW

If I admit this was a programme of two halves all will become clear later. Tim Wakerell opened with a very impressive reading of Bach’s Fantasia and Fugue in C minor BWV537. The gradual and seamless build in registration, particularly in his use of the pedal, was entirely convincing as were his articulation and phrasing. The Sonata by CPE Bach which followed was charming though rather light-weight when compared either to his father’s work or the richer tonality of Schumann’s Op58 No3. It really was a case of a chamber work needing a chamber organ.

Tim Wakerell’s use of tone colour was again in evidence in a fluid rendition of Franck’s Prelude, Fugue and Variatio, before W T Best’s transcription of the overture to Mendelssohn’s St Paul. This literally did pull out all the stops and made a noble – and noisy – end to the first half.

So far – so very good.

The second half opened with a Passacaille from Aubertin’s First Sonata from Two Pieces for Organ. Its slow transitions and ponderous writing were not easy to follow and it was unclear when it had actually finished, passing through a number of potential concluding notes before actually stopping. It was one occasion when having the screen was a real advantage as we could see when the organist had actually stopped. It might have made more sense in the context of the whole work but seemed uneasily placed within this programme. Karg-Elert’s charming Valse Mignonne was given rather heavy-handed registration which clashed with the delicacy of the writing.

The concert ended with Max Reger’s Fantasie on Wachet aufOp52. I am glad to say that many around me obviously enjoyed this and were enthusiastic about both the work and the playing. There was certainly little to fault in the performance, the regular use of choir with swell being particularly impressive, but by this stage in the evening it all seemed rather too heavy and unfocussed. Thankfully the second part of the Fantasie is fugal, and therefore easier to follow, which helped.

There was no encore, which may have been understandable in the circumstances, but we could have done with a lollipop to send us on our way – or am I just too plebeian? BH

Next Week – Stephen Disley – 7.30pm All Saints Church, Hastings