Now that concerts all have to have a title, like novels, this one was called “Forgotten French Masterpieces” which is an interesting idea for a theme especially as it included 19th century composer Louise Ferenc and we really ought to be hearing more – much more – of her.
The title didn’t, however, really apply to the opening work: Faure’s Masques et Bergamasques which is actually pretty familiar. Good to hear it played with such commitment by this well established community orchestra, though. Once the orchestra had settled we got an elegantly courtly Menuet and some excellent flute work in the Romanze from Charlie Faux-Bowyer although some of the string work beneath her was fuzzy. There are some very strong, confident players in this orchestra, led by the ever charismatic Flo Peycelon.
The five orchestral songs by Henri Duparc which occupied the “concerto slot” were completely new to me and I have to say I found them a bit colourless. Soprano Penelope Martin-Smith did her best with them although she didn’t evince much emotion. Moreover, although she lives in France where, according to the programme, she studies French language and culture there was no clarity in her delivery of the French text. Strange too, to use a music stand and have it set so low that you have to keep looking downward. It all felt a bit understated and more like a rehearsal than a performance.
The highlight of the concert was Louise Ferenc’s third symphony which came after the interval. The adagio – lots of colourful lyricism and warmth – was splendid as was the busy, nimbly delivered Scherzo. And the final Allegro gave us lots of melodies intertwined and incisively played. I know this symphony only from recordings and it was a real treat to hear it live and played with such panache.
It was a while since I’d been in the Colyer-Fergusson Hall which is part of the Gulbenkian Arts Centre at the University of Kent. It really does have a pleasing acoustic and the layout – audience on raked seating with the orchestra on the flat space at the bottom – works effectively because it means you can see every single player and that’s rare in a concert hall.
Susan Elkin