MOZART BY CANDLELIGHT

The Locrian Ensemble at the Civic Theatre

26.09.10

Much is done these days to encourage young people to listen to classical music. But what of their grandparents, who'd like to hear the theme from Horse of the Year Show and Brain of Britain, who remember songs from the Music Hall.

Step forward the Locrian Ensemble, with their ever-popular Mozart by Candlelight. Fronted by the genial Justin Pearson, in wigs and frock coats, they played Eine Kleine Nachtmusik and Pachelbel's Canon, A Musical Joke and the Divertimento.

More of a rarity was an arrangement of Mozart's Antiphon written as an entrance exam for the Accademia Filarmonica in Bologna.

Two outstanding soloists this time out – Anthony Pike on basset clarinet for the Quintet, and the amazing Stacey Watton playing the opening of Bottesini's demanding concerto for Double Bass.

Mozart would have been surprised, not by the frequent applause, the chatter, the laughter, the chink of glasses from the bar in the second half, but by a woman leading the ensemble – the excellent Rita Manning.

Surprised but delighted, no doubt. As he would have been by the encores – Almaviva's lost aria If You Knew Susanna, and Wolfgang's touching tribute to Leopold, My Old Man …

SIBELIUS AND MOZART


Essex Symphony Orchestra at Christ Church


07.03.10




The Essex Symphony often invites a singer as soloist. So this time we had Polish American soprano Pamela Hay, and, where the concerto would be, three of Mozart's Concert arias. The sumptuous lullaby Ruhe Sanft was followed by the dramatic Non so d'onde, which really showed the full power of her voice, and finally Aloysia Weber's charming farewell to her fans, Nehmt meinen Dank.


The other composer, who like Mozart died in poverty, was Jean Sibelius.


First, his familiar tone poem, the Swan of Tuonela. This atmospheric evocation of the Finnish underworld featured a plaintive cor anglais, and wonderfully emotive string playing.


The symphony was his second. The strings were very impressive again here, especially in the irresistible Finale, and the scampering Scherzo. The brass, too, were on superb form, horns and winds dialoguing in the first movement. The sweep and grandeur of the piece were well suggested, and we were all caught up in the power of the sounds, the emotion of the occasion.


This excellent concert, with the ESO led by Philippa Barton, was conducted by Tom Hammond, who also talked persuasively about the Mozart songs, and about his reasons for programming these two composers together.


photograph of Pamela Hay by John Stone