TCHAIKOVSKY AND SCHUMANN

TCHAIKOVSKY AND SCHUMANN

Essex Symphony Orchestra at Christ Church

04.03.17

Popular Tchaikovsky to bookend this concert. Marche Slave as an overture, with its solemn start and dramatic tunes. Brass and percussion, of course, but also some jaunty woodwind, flutes and double basses centre stage,

And to finish, his Fourth Symphony. Some splendid sounds from the ESO, led by Philippa Barton and conducted by Tom Hammond. Horns, cantabile strings and delicate clarinet and flute in the first movement; in the third, playful joie de vivre underpinned by the pizzicato strings. And a white-knuckle ride through the vigorous Finale, with percussion thrillingly prominent.

In the concerto slot, a rare chance to hear Schumann's Konzertstuck for Four Horns and Orchestra. Written to show off the valve horn – new technology back in 1849 – it is a test of the virtuosity, and endurance, of the soloists. Placed to the left of the platform, Fiona Russell, Jeremy Garside, Laure Valiquette-Talbot and Jonathan Handley achieve a bright, clearly-defined sound. The orchestra respond superbly, with, in the central Romanze, the sweep of the strings echoing the lyrical lines of the horns.

ESSEX SYMPHONY ORCHESTRA

at Christ Church, Chelmsford

26.11.16

Back to back piano concertos, with Chelmsford-born Alisdair Hogarth as soloist with the ESO under Tom Hammond.

Gershwin's Rhapsody in Blue top of the bill. Not really jazz, according to Hogarth before the concert, though the players did manage a convincing jazz sound, as well as the big orchestral palette, with a muscular soloist to match.

Shostakovich's Second Piano Concerto – a repertoire favourite, and recorded by three generations of the Shostakovich clan – was given a similarly bold reading; the outer movements sometimes sounded more deliberate, less delightfully delicate, than usual, but the sublime slow movement, with its rich string tone and eloquent piano phrasing, was superbly done.

Ten years now since Malcolm Arnold left us. And this enterprising programme opened with A Flourish For Orchestra, commissioned in 1973 by the City of Bristol. Then the Third Symphony of 1957 – the same year as the Shostakovich. A much darker piece, a memorial to the composer's mother, impressively played by the ESO, led by Philippa Barton, with sweeping, brooding strings, ominous tympani rhythms, and fleeting solos from oboe, clarinet, piccolo and of course Arnold's own instrument, the trumpet.

BERLIOZ AND SAINT-SAENS

BERLIOZ AND SAINT-SAENS

Essex Symphony Orchestra in Chelmsford Cathedral

05.03.16

Saint-Saens' magnificent Organ Symphony was the climax of this feast of French romanticism, relocated from Christ Church to the Cathedral for the occasion.
A robustly eloquent performance from the ESO under Tom Hammond. The expressive Poco Adagio was exquisitely played – the strings [leader Phillipa Barton] and the organ [Laurence Lyndon-Jones] blending to excellent effect. The Maestoso finale was tautly handled, with the piano duet played by two more of the Cathedral's music staff, James Davy and Rosie Vinter.
After the Overture, Berlioz's Roman Carnival, starting with a solemn procession and ending with exuberant cymbals and tambourine, we heard a rare treat. Les Nuits d'Été – Berlioz again – is a song cycle setting six poems by the composer's neighbour Gautier. They trace an arc of romantic love, from youthful exuberance through the pain of loss to new horizons.
Superbly sung here by mezzo Anna Harvey, her rich tone sitting comfortably in the Cathedral acoustic, especially perhaps in Le Spectre de la Rose. The ESO's fine accompaniment reflected the changing moods, and the final setting – L'Ile Inconnue – conjured up a powerful image of the boat sailing over the waves to the “faithful shore” of the unknown island.

AUTUMN CONCERT

AUTUMN CONCERT

Essex Symphony Orchestra at Christ Church Chelmsford

21.11.15

Second symphonic Siegfried Idyll in less than a week. Last Sunday, the BBC Concert Orchestra, and this Saturday the Essex Symphony under Tom Hammond. Lovely sound from the strings here – the winds somewhat exposed on the back row, but all blending to excellent emotional effect in the climactic moments.

Wagner wrote his intimate original for his wife's birthday; he was a great admirer of Beethoven's Seventh Symphony - “[it] carries us away with bacchanalian power through the roomy space of nature” he wrote. Performed by the ESO, leader Philippa Barton, with splendid attack and rhythmic drive. Even the Allegretto second movement – theme from The King's Speech – was infused with energy, not just a solemn dirge. The Allegro Con Brio finale, too, sustained its impetus till the last triumphant bars.

Emma Hanlan was the soloist in Nielsen's Flute Concerto. A suitably spiky, forthright approach from the orchestra, the soloist audaciously holding her own in free-flowing conversations with clarinet and other soloists – including trombone and timpani ! Her approach was teasing and enigmatic, her tone beautifully crafted throughout the range.

This was the first concert in the ESO's new season. Coming up later, Saint-Saens' Organ Symphony in Chelmsford Cathedral, and Mozart's exquisite Sinfonia Concertante next July.

SHAKESPEARE AND ENGLAND

SHAKESPEARE AND ENGLAND

Essex Symphony Orchestra at Christ Church, Chelmsford

14.03.15

Shakespeare in Victorian costume made up the first half of this attractive programme.

The revelation, for many, was Sullivan's atmospheric Overture to Macbeth, written for Irving's production at the Lyceum, which boasted a pit band of 46 players, including two harpists.

A slightly larger ESO gave an excellent account of this score, which, at its opening, owes much to Mendelssohn, the ghost at this musical feast. Scurrying strings over woodwind led us delightfully to the dramatic conclusion. Stirring stuff, bracketed by two favourites: Nicolai's Merry Wives Overture, with misterioso moonlight over Windsor Forest, fairies and fireflies, before the glorious sunny theme which never appears in the opera itself. And Tchaikowsky's Romeo and Juliet – sterling work from brooding lower strings, and oboe and violas suggesting the tenderness and passion of Romeo's young love.

After the interval, Edward Elgar. Not, alas, his Falstaff, but the more familiar Enigma Variations, witty, affectionate portraits of his friends, splendidly interpreted here by the orchestra, led by Philippa Barton and conducted by Tom Hammond. Variation III had bags of character, and if the gossamer lightness of Dorabella proved elusive, the noble emotions of Nimrod were powerfully suggested, with the melody polished smooth by subtle legato.

SIBELIUS AND VAUGHAN WILLIAMS

SIBELIUS AND VAUGHAN WILLIAMS

Essex Symphony Orchestra at Christ Church

01.03.14

Inspired by nature and national identity, Sibelius and Vaughan Williams, making a challenging programme for the ESO, and a wonderful experience for those fortunate enough to be in Christ Church to hear it.

The ESO's leader, Philippa Barton, was the solo violin in The Lark Ascending. The pure, almost reedy tone of her Guarneri copy was ideally suited to the “silver chain of sound” set against the sky-shimmering strings of the orchestra, or unaccompanied as in the sheer enchantment of the closing bars.

Finland was represented by Finlandia, of course, in a thrillingly powerful performance, and by En Saga, a mysterious evocation of lake and forest; Tom Hammond's inspirational direction served the tunes and the textures splendidly. Sterling work from the brass, as there was in the final work, Sibelius' Fifth Symphony. The majestic architecture of the outer movements was clearly delineated by the disciplined precision of the string playing, and if the mighty theme sometimes fared better than the exposed intricacies, the iconic chords at the close were stunningly effective.

QUEEN AND COUNTRY

QUEEN AND COUNTRY

Essex Symphony Orchestra Summer Concert at Christ Church

29.06.13

A programme of 20^th century British music to mark the 60^th anniversary of the Queen's Coronation.

At its heart, a piece to celebrate that June day in 1953 – Malcolm Arnold's Homage to the Queen, a suite from the ballet premièred that night at Covent Garden. Not a piece I've heard before; there are evident influences, not least Walton in the pomp of the fanfares, but Arnold's genial wit shines through. Superbly played by the ESO under Tom Hammond, relishing the different styles of the four elements: brass tongues of flame, singing strings, the celeste for water, winds for the air.

The programme began with Elgar's Sea Pictures, with mezzo Marie Elliott an imposing presence. Beautifully sung, too, the poignant In Haven [words by Elgar's wife Alice], the ethereal, other-worldly Where Corals Lie, and the impassioned Swimmer.

Vaughan Williams' London Symphony ended the concert. Like the Elgar, it was played with assured style by the ESO, conjuring up the Edwardian capital in all its moods. Rich, dark string tone, with evocative, atmospheric solos from horn, cor anglais, and in the sombre Epilogue, an exquisite phrase from the violin of leader Philippa Barton before the music disappears into the dusk.

ESSEX SYMPHONY ORCHESTRA

ESSEX SYMPHONY ORCHESTRA

at King Edward VI School

10.11.12

What better way to herald a sixtieth anniversary than Beethoven's mighty Ninth ? The Essex Symphony Orchestra joined forces with Felsted Choral Society, and four excellent soloists, and, just this once, moved back to their old home at the Grammar School for this celebratory concert.

There was a Gluck overture, too, plus Byrd and a charming new madrigal by Roger Lawrence, whose choir this is, two choral works celebrating the two Elizabeths.

But the Choral Symphony was the climax. Not perhaps the best performance they've given under Tom Hammond's direction, though after a tentative start some aggressive percussion injected excitement into the opening Allegro. Well sustained brass and woodwind in the carefully controlled Scherzo, and serene, expansive strings in the Adagio.

And then the famous marathon Finale, reinforcements to the left of us, with Ashley Mercer's impressive intervention, and to the right of us with three more percussionists, and both choir and orchestra rising to the occasion, although in this unforgiving acoustic, the singers sometimes struggled to be heard from behind the players. An exquisite quartet from the soloists, a jaunty march introduced by the contra-bassoon, and a truly thrilling sprint to the finish.

CLASSICAL DANCE

CLASSICAL DANCE

Essex Symphony Orchestra at Christ Church, Chelmsford

14.07.12

Jim Hutchon joined the dance ...

Dance was the order of the day at 59-year-old Essex Symphony’s latest offering. Waltzes, polkas and marches fell over each other in a spirited programme that also included exquisite harp solos from up and coming international harpist Melissa Kenny. Under the orchestra’s resident conductor, Tom Hammond, the highly disciplined band continued its progress towards ever greater harmonic balance.

Sibelius’ Valse Triste and selections from Tchaikovsky’s Nutcracker kicked off proceedings, with a series of familiar but challenging sequences.

The solo harp sequence started with Debussy’s Danse Sacrée and Danse Profane.The extraordinarily complex and intricate Fantasy on Tchaikovsky’s Eugene Onegin tested both the soloist and the audience as this was no easy number. It was followed by a lyrical and flowing dance from Falla’s La Vida Breve.

The closing sequence really tested the Christ Church rafters, with Strauss the son’s Emperor Waltz, Leichtes Blut and the Thunder & Lightning Polka, followed up by Strauss the father’s Radetzky March. At that point, I had the distinct feeling that even this audience (of a certain age) was within an ace of taking to the aisles.

The sequence closed with Farnon’s calm and familiar Westminster Waltz to send the audience out into a wet and windy London Road.

Essex Symphony Orchestra

BACH, BRAHMS AND TAYLOR

Essex Symphony Orchestra at Christ Church

03.03.12

The Storr is a spectacular rocky hill on the Isle of Skye. It was the inspiration for Matthew Taylor's symphonic poem, commissioned by the Essex Symphony Orchestra to celebrate their sixtieth anniversary.

Not an easy climb, and a challenging workout for the orchestra, led by Philippa Barton and conducted by Tom Hammond, who was the driving force behind the commission. But it was an impressive sound picture, an ever-changing panorama with lyrical passages on the flute and a vigorous closing fugue, a depiction of the vista from the peak.

Part of the raison d'etre of "Storr" was to create a companion piece to Brahms' Fourth Symphony, completing the ESO's programming of the cycle. Some very polished playing here, from the confident conversation of the strings in the opening Allegro to the bold build-up of the Finale [energico e passionato] through the sheer fun of the Scherzo, with a full, colourful orchestral palette: three basses and a contrabassoon at one extreme and a plucky triangle at the other.

The concert opened with Bach's Third Orchestral Suite: a lilting Gigue to end, after the bright resounding brass and urgent strings of the Overture.

ESSEX SYMPHONY ORCHESTRA

ESSEX SYMPHONY ORCHESTRA

Christ Church, Chelmsford

19.11.11

These You Have Loved selections this time, all with a story to tell.

Presumably why it was thought a good idea to have a narrator giving us generous helpings of Goethe and the Kalevala, not to mention the French verses that inspired Saint-Saens' Danse Macabre.

The evening began with the enchanting anticipation of Mozart's Magic Flute Overture, with its heroic brass and excitable strings. Then Sibelius's Pohjola's Daughter, colourfully scored, with a nicely judged diminuendo ending from the ESO's conductor Tom Hammond.

Then our first Fantasia favourite – Mussorgsky's riotous Night on a Bare Mountain, moving effectively from scream to serenity as the cock crows. The evening ended with The Sorcerer's Apprentice; a triumph for the orchestra, this – only in live performance can we appreciate how the cheeky theme is passed around the players, starting with the bassoons, and all sprinkled with the magic dust of the glockenspiel.

A moment of calm reflection among the magic and the mayhem was Gluck's Dance of the Blessed Spirits, ethereal music with beautiful flute solos.

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

ESSEX SYMPHONY ORCHESTRA

at Christ Church

24.10.09

A pleasingly full house for the ESO's Russian Repertoire.

Was it the attraction of new conductor Tom Hammond ? The populist playlist – Hall of Fame Favourites all ? Or the soloist, the impressive Simon Callaghan ?

Whichever, the audience was treated to an excellent evening, beginning with that much-loved curtain-raiser, Glinka's Overture to Ruslan and Ludmilla.

The piano concerto was Rach Two. From the opening chords it was clear that Callaghan was in control of this challenging war-horse. His performance won warm acclaim from the audience and the orchestra; we were rewarded with a little Fairy Tale by Nikolai Medtner. Orchestrally, all the big effects were there, though the detail was not always as crisp as the woodwind in the Adagio. But there was real tension at the start of the closing Allegro, and soloist and orchestra [leader Philippa Barton] combined effectively in a stirring climax. I see that conductor and soloist return to the work again soon in Symphony Hall Birmingham; the band this time the British Police Symphony Orchestra – plenty of scope for wordplay there ...

The most polished orchestral playing, though, came in Tchaikovsky's great Fifth Symphony. The foreboding in the Andante, the rhythmically exciting Allegro, the rich sonorities of the big string passages in the slow movement, all came off brilliantly, and the trumpets and horns battled it out thrillingly over the swirling strings in the closing pages.