Daily Archives: 25 November, 2012

Brighton Philharmonic Orchestra

Posted on by

The Dome, 25 November 2012

Howard Shelley was both conductor and soloist for this concert, and an impressive job he made of both roles. He opened with a rarity – Weber’s Jubilee Overture of 1818. It’s slightly pompous opening leads quickly into an energetic theme which one could be forgiven for thinking a pastiche. If this seemed all rather too glib, the inclusion of a windband version of our national anthem at the end made one wonder if it wasn’t all rather too tongue-in-cheek. Splendidly played, with vibrant brass and wind throughout it was a fitting contrast to the rest of the afternoon.

The grand piano, minus its lid, was placed square on to us so that Howard Shelley had his back to us the whole time for Beethoven’s 4th piano concert. While we may have missed some of his articulation we saw all of his conducting, standing up at the piano when there were extended passages for orchestra and conducting with one hand where the scoring allowed. It was very impressive and the rapport between players and pianist exemplary. The final movement was brisk and bright throughout.

Brahms’ 1st symphony may be very familiar but the orchestral layout on this occasion gave it an extra bite. The impact of the brass, noted in the Weber, was even stronger for Brahms. The four horns were on a raised platform and sang out over the strings with unexpected clarity. There were passages in which I can’t recall ever being aware of the horns before but here they were and how impressive their lines seemed.

But the brass did not have it all their own way. The solo oboe was fluid and effective in the slow movement and the whole wind section on good form for the third movement. The main theme in the final movement was heralded by exquisite brass fanfares – like the dawn chorus awaiting the sun.

At the end of the performance Howard Shelley not only raised the solo instruments for applause, he raised each section of the strings in turn. I have not seen this before but it was very pleasing – the strings too often get a raw deal when it comes to applause! BH

Zemlinsky Quartet

Posted on by

 

Vinehall School, 24 November 2012

It is always good to hear Czech music played by Czech musicians, and when they are as internationally recognised as the Zemlinsky Quartet the event is bound to be prestigious.

Janacek’s second quartet, Intimate Letters, requires rapid changes of mood and dynamic without any sense of rawness. The warmth of the playing, and in particular the vibrancy of Petr Holman’s viola, made for elegant transitions and a level of geniality which is often missed. The final movement danced joyously even when there are undercurrents of tension and concern.

It is not often that music can be considered happy, but Dvorak’s second quartet, known as the American, seems to be just that. The players were certainly happy not only with their performance but with the work itself, often playing from memory and deep commitment. In the context of the Janacek quartet, Dvorak’s Molto vivace seems to pre-echo the younger composer in the deft mood changes and snatches of melody. The lilting dance of the final Vivace was enchanting.

These Czech works were sandwiched between two baroque pieces. The evening opened with Mozart’s quartet No17 K458. The playful final movement seems to hint at the more familiar Eine kleine nachtmusik while the inner movements range from a Haydnesque Trio to a romantic Adagio.

As an encore we heard the final movement of the third quartet by Juan Crisóstomo Jacobo Antonio de Arriaga,The Spanish Mozart.

It may have been a nasty night outside but in the hall all was warmth and comfort – and a tribute to the organisers who can tempt this quality of performance to the wilds of East Sussex.BH