The Dome, Brighton, 8th Nov 2015
It’s an interesting idea to programme a geographically diverse concert in chronological reverse with works written in 1917, 1876 and 1826 in England, Austria and Russia, respectively. Such a range ensured a lively afternoon although the augmented percussion section and harp for the Elgar seemed rather a waste of (excellent) resources as they weren’t needed in the other two works.
But what Elgar! I have to confess The Sanguine Fan was completely new to me. A short (20 minute) episodic ballet piece which Elgar was asked to write for a wartime charity, it includes some sublimely plummy Elgarian string and brass work interspersed with a minor key passage which echoes Dvorak in gypsy mode and later some jazzy syncopated work which anticipates Shostakovitch. It was a real pleasure to hear something unfamiliar – and yet worthwhile – get an admirably well played outing and it sits well in the overture slot. Let’s hope this performance starts a new fashion.
Gemma Rosefield found an attractive bright mellowness in Tchaikovsky’s Variations on a Rococo Theme especially in the showpiece trills and harmonics, while Barry Wordsworth deftly kept soloist and orchestra in sync. It’s a tricky piece to hold together because, of course, it doesn’t work like a concerto and there’s a lot of detailed quasi-duet between orchestra and solo cello. Gemma Rosefield looked terrific in her black lacy dress and red shoes but if you’re a compulsive foot tapper (and I sympathise because I have the same problem) then you need to wear soft shoes. I could hear her left foot beating time from well back in the balcony.
Schubert’s Great C Major began at a measured pace with close attention to the piece’s luxuriant detail. Barry Wordsworth controlled the balance and ensured that we heard all the finer points. The andante com moto bounced along with plenty of “moto” and an emphasis on the movement’s attractive simplicity. He made the counterpoint 6/8 melodies sing joyfully in the scherzo too, before bringing proceedings to a resounding conclusion and ensuring that everyone noticed Schubert’s homage to Beethoven in the final allegro.
Overall this was a very creditable and enjoyable concert. And as a guest reviewer and a newcomer to Brighton Dome I really appreciated being part of a (gratifyingly large) audience, educated and disciplined enough not to applaud between movements.
Susan Elkin