Daily Archives: 1 December, 2013

Organ Music for Advent & Christmas

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advent 2

Christchurch Blacklands, Hastings, 30 November 2013

Advent is here and Stephen Page eased us into the season with music and carols to prepare us for the coming festivities. As Advent is a time of reflection, as well as often stressful preparation, it was good that so many of his pieces were reflective.

After a joyous fanfare by Gerre Hancock and the singing of Joy to the World he played Bach’s Wachet Auf and Daquin’s Noel; Grand Jeu et Duo. The former was familiar and given a gentle introspection while the latter twinkled merrily.

We sang O come, O come, Emmanuel before four linked pieces. Heathcote Statham’s Fantasia on Veni Emmanuel has wonderfully rolling English phrases and would be worth hearing again without the seasonal context. Eric Thiman’s Postlude on Adeste Fidelis seemed rather light-weight by comparison but Harrison Oxley’s Prelude: Whence is that goodly fragrance? brought a time of genuine meditation. Anyone who might just have nodded off while reflecting was soon awake thanks to the Dance of the Snowmen by Howard Blake.

Following Lo! He comes we came to the final set of pieces opening with William Lloyd Webber’s Rhapsody of Helmsley. While light in texture it aptly reflects the alleluias of the hymn. Philip Marshall’s Prelude on Forest Green proved as introspective as the Oxley had been and was followed by Samuel Wesley’s The Christmas carol varied as a Rondo – which turns out to be a set of variations on God rest ye merry with fine changes of tone and texture.

After a rousing rendition of Hark the herald angels sing, and Colin Mawby’s stirring variation we were ready for coffee and mince pies.

Blacklands organ is potentially a fine instrument but there are so many problems with it at present that not even an organist as skilful as Stephen could cover the difficulties he was having both in registration and individual notes. There may be no cyphers but it is the difference between driving a new car and one that is verging on the veteran and in need of a serious service and overhaul. There is only so much one can do.

The large audience/congregation were very appreciative of an event which subtly bridged the gap between service and concert, allowing both enjoyment of the music and time to reflect. Maybe this is a pattern for other events? BH

Maidstone Symphony Orchestra

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Brian Wright

Maidstone Symphony Orchestra

Mote Hall, 30 November 2013

Brian Wright obviously enjoys challenging both his players and his audience. Last night’s concert at the Mote Hall brought us a club sandwich with chunky crusts and a fascinating filling.

The orchestra blazed into action with Berlioz’ Overture Roman Carnival, with the brass and woodwind indulging themselves in the composer’s enthusiasm, but not before a limpid cor anglais solo from David Montague. The strings were more than up to the extravagance of the final pages putting everyone in a good mood for the following concerto.

Tom Bettley

Reinhold Gliere is hardly a household name and his horn concerto, though loved by those who know it, is not frequently performed. Tom Bettley was advertised as a local boy but there is nothing domestic about his approach to the work or to his professionalism as a soloist. Gliere spent time studying with a professional horn player before completing the work and this shows in the challenges he provides for the soloist. Not only are there some formidable technical passages in the outer movements but the long lyrical sections are equally difficult, and it was these which were particularly impressive. The Andante has a Tchaikovsky-like melodic line which wanders with great beauty – a beauty finely crafted in Tom Bettley’s gentle and mellifluous playing. By the end it was easy to see why players love the work – perhaps we might learn to if we heard it more often.

After the interval the orchestra brought us two large-scale romantic works, commencing with Richard Strauss’ Tod und Verklarung. The opening section caught the timelessness of the piece with ease, the long string passages unfolding with skill and great sensitivity. Brian Wright maintained the tension here, creating a fine balance between anxiety and ennui. The double climax was splendidly phrased and the strings were at their best in the outpouring of joy in the final pages.

Stravinsky’s 1919 suite from The Firebird was probably the most familiar item on the programme and brought the evening to an exultant conclusion. After a gentle Round Dance, the Finale built skilfully – including a fine bassoon solo from Philip Le Bas – allowing the colours and textures of the score to shine through. Wind and brass ensembles were at their most relaxed, and the percussion came into its own.

A suitably large and enthusiastic audience clearly enjoyed the whole evening. If anybody thinks I may be overlooking the odd missed note or fluff, the odd less than perfect entry, then let me assure them I am well aware of the minor imperfections of any live performance. There are very few orchestras in my experience who can get through an evening with every note perfectly formed – that only happens on carefully edited recordings – but the excitement of a live performance is far more worthwhile than any cd, no matter who the orchestra is! BH

The next concert is on Saturday 1 February with works by Mendelssohn, Sibelius and Beethoven. The Concerto soloist will be Mark Simpson playing Copland’s Clarinet Concerto. www.mso.org.uk