Newbury’s ‘brilliant’ Symphony Orchestra plays a dazzler
Newbury Symphony Orchestra Spring Concert
at St Nicolas’ Church
on Saturday, March 22
REVIEW BY PHIL BROWN
A near full St Nicolas Church audience were treated to a sparkling entertainment given by the NSO with a fabulous programme for full orchestra. The outstanding cellist Oliver Simpson returned to play the Dvořák’s magnificent cello concerto.
The piece is full of brooding tension and delicate melancholy and I like that the piece never really lets you settle into one feeling, constantly probing the listener with the question ‘what do you think I am?’
Oliver Simpson suited this role admirably with his thoughtful attention to every phrase. He demonstrated a rare sensitivity to this piece that you will struggle to find on famous recordings.
The orchestra opened in fine fettle, the opening hinting at themes to be explored; first with the horns and woodwind sweeping though the whole orchestra with an urgent precision before introducing the dramatic opening statement by the cello, Simpson laying down his marker with real deliberate intent. The balance of forces were more settled in the Adagio, allowing Simpson to express himself more easily in this almost choral like section.
After stern conversations with the horns and basses we are lead to an elegiac cadenza that seems to speak of loss or unrequited love. Simpson, a singer himself is able to bring a rich vocal palette of colours to the cello, a quality I admire.
The final dynamic movement has the most intense conversation taking place between orchestra and cello of any concerto. The connection between cellist, the impressive conductor Jonathan Williams and orchestra was so very close. The dialogue between cello and orchestra was a fun one - each challenging the other in ever more outlandish statements. After much triumphalism we eventually arrive at a quiet resting place, which feels like the end but then a theme as serene and as optimistic as that in Dvořák’s New World symphony takes over before finally letting this piece come to a rest.
Bizet’s Carmen suites arranged for orchestra is a go-to piece for me whenever I need a pick up. So I was very intrigued to see how the orchestra would cope with the challenge of constant time changes; plenty of rubato and a level of nimbleness that is hard to get with a full orchestra. I need not have worried as under William’s Baton the orchestra were light on their feet and positively bristling with energy. Williams had to use every part of his body to keep the masses in check including tempo changes that were made with his dancing hips!
The strings are in such a good place these days, largely due, I believe to the appointment of their highly regarded leader Wendy Clark.
The excitement continued with the aural spectacle that is Pictures at an Exhibition by Modest Mussorgsky. Modest it ain’t. Quite a rip roaring affair that utilised all the forces of the orchestra with fantastic effect. The pictures each with their own theme are not much more than vehicles to demonstrate richness available from an orchestra – more a tone poem of colours like an impressionist painting.
There are gems that everyone knows like the brooding and unsettling wind section in the second ‘picture’; the Old Castle which bought back my childhood memories of Fantasia. The third movement reminded me of Dvořák. The brilliant orchestra took us on a dramatic musical journey in this piece, at times deafening at times so very tender, before finishing with the rather outrageously drawn out and boisterous ending that makes Beethoven’s endings look curt! The orchestra together were brilliant.
There were so many high spots that night with many a solo from all the sections, I apologise for not listing you all. It was a real pleasure to hear Newbury’s orchestra, our local orchestra in such good health. With a great conductor who can tease the very best out of the gathered forces, a programme was designed for everyone and enjoyed by an appreciative audience of all ages.
