Review – The Twelfth Malcolm Arnold Festival, Gala Concert, Royal Philharmonic Orchestra, Derngate, Northampton, 15th October 2017

Twelfth Malcolm Arnold FestivalOnce again the Royal and Derngate played host to the annual Malcolm Arnold Festival, celebrating the work, life and influence of one of Northampton’s finest Local Boys Done Good. This year’s title was “His Music Abounds in Singable Tunes”, and I can’t imagine a more fitting tribute. A dozen events – concerts, talks, even the re-enactment of a radio programme – all took place over the weekend, culminating in the usual pizazz of the Gala Concert in the Derngate auditorium. Again, we had the pleasure to welcome the Royal Philharmonic Orchestra, under the baton of John Gibbons who’s been conducting these Malcolm Arnold concerts since he was about five years old, by my reckoning.

For reasons that he explained later, Mr Gibbons had decided to shuffle the order in which the pieces of music would be played. We started off with Arnold’s arresting River Kwai March from Bridge on the River Kwai; a perfect starter with its rousing atmosphere and cheerful arrangement. Military brass and smashing cymbals at the ready, the Royal Philharmonic gave it a great rendition and put a smile on everyone’s faces.

John GibbonsNext we had Malcolm Arnold’s Fifth Symphony. John Gibbons forewarned us that, if we weren’t already familiar with it – I wasn’t – we might find it challenging; but it’s also exuberant, cerebral, and full of singable tunes (as we had been promised.) It impressed me as a work of great variety. Premiered in 1961, Arnold included several musical references in memory of friends whom he had lost, including humourist and tuba-thumper Gerard Hoffnung, Frederick Thurston the clarinettist, and Arnold’s own brother Aubrey, who had taken his own life a few months earlier. So you can tell it’s a piece of work that demands to be taken seriously.

The first movement isn’t described as Tempestuoso for nothing. It’s full of attack, at times almost aggressive; but I did love the way the harp and celeste played together, creating the sound equivalent of fat golden droplets of rain – well that’s how it felt to me. The second movement is much more lush and warm, with the violins buzzing away together like a deep lullaby – it did actually send Mrs Chrisparkle off to sleep for a short while. The third movement (con fuoco) was one of those instant hits when you really love a classical tune, even if, afterwards, it’s really hard to recollect it. I loved that quirky rhythm and part-played, part-omitted melody. Everything gets brought together in the final movement, and I was really impressed with it. I’ll have to buy a recording of it! Again, the RPO gave it everything.

Arta ArnicaneAfter the interval, the Steinway had been wheeled into place for our only non-Arnold segment of the evening, a performance of Grieg’s Piano Concerto, with soloist Arta Arnicane. Always a favourite piece of music, I knew I had to steel myself not to sing along to the words of the Song of Norway – and I succeeded, much to everyone’s relief. Ms Arnicane looked stunning in a glistening steely grey dress – I couldn’t help but think that the long hem would have got in the way of the piano pedals, but I guess she knew what she was doing. There are so many fantastic sequences in the piano concerto but what most impressed me – and amused me – was how Ms Arnicane’s personal deportment changed with the mood of the music. For the strong, passionate parts she’d sit upright and authoritatively; for those languid phrases she’d almost flop over the keys. When Grieg got playful she’d wiggle from side to side as if preparing for a game of keyboard hopscotch. She really expressed the music so beautifully not only through the sound coming out of the piano but also through her own physical presence. I also loved her delicacy of touch, sometimes coaxing the music out with what appeared to be just the minimum of pressure. It was stunning.

Royal Philharmonic OrchestraOur final piece was Malcolm Arnold’s Heroes of Telemark. This was the first time that this piece had received a concert performance; having languished in film companies’ files for several decades after the film was made in 1965. The piece was re-shuffled to the end of the concert because, when the listing was originally produced, John Gibbons, who was creating the suite from the separate, individual passages of film, hadn’t yet finalised the work (reading between the lines, it was a much bigger job than he was expecting!)

As expected, it’s full of ravishing Arnoldesque moments, with stirring tunes, thumping orchestrations and a few delightful surprises. Mr Gibbons had told us that we would easily be able to identify the German marching songs (correct) and the big moment when the Allies exploded the plant where the Germans were making Heavy Water – also correct. I must be honest though and say that on the whole I didn’t think it really gelled as an orchestral suite. No question it was fascinating to listen to, and for Arnold enthusiasts (of whom there were plenty in the audience) a unique opportunity to hear something that’s been largely lost for fifty years; but for me, I won’t need to hear it again for a good while.

Nevertheless, a great night of classical entertainment, with a fantastic soloist and some amazing performances. Now to hunt down that third movement to the Fifth Symphony!

Review – Des O’Connor and Jimmy Tarbuck Live, Royal and Derngate, Northampton, 17th September 2017

Des O'Connor and Jimmy Tarbuck LiveWhen I saw these two legendary names were appearing together on stage I had absolutely no hesitation in booking straight away. They were among the very first famous people I ever saw on stage as a child. Jimmy Tarbuck played Jack in the London Palladium pantomime Jack and the Beanstalk back in Christmas 1968 – New Year 1969; it was my first visit to a London theatre and my first ever pantomime. The Dowager Mrs Chrisparkle couldn’t wait to get me in the front stalls to see how I’d react to the Palladium environment (which she adored) – verdict, I loved it. But, even earlier, in the summer of 1967, I was taken to my first ever professional stage show; on holiday in Bournemouth, the 7-year-old me had a seat to see Showtime at the Pavilion Theatre, featuring Kenneth McKellar, Jack Douglas and starring – you guessed it – Des O’Connor.

Jack and the Beanstalk 1969 castI’d seen Des O’Connor live just once since then, when I took a young female friend (in the days before Mrs Chrisparkle, c. 1984) to see a recording of Gloria Hunniford’s TV chat show Sunday Sunday – it used to air on Sundays, I kid you not. Amongst the guests was Mr O’Connor. At one point all the lights blew and they had to stop the recording for about twenty minutes. Gloria Hunniford retreated into her shell and wouldn’t make eye contact with the audience. Des O’Connor, on the other hand, got up and did twenty minutes stand-up off the top of his head, and, let me assure you gentle reader, he was absolutely on fire! From that moment, I’ve always had immense respect for him.

Des O'Connor and Jimmy Tarbuck 1I’d not seen Jimmy Tarbuck on stage since that panto, and of course it’s been many years since he’s been a regular on TV; so I was very interested to see how he’s progressed, the young feller-me-lad. Well, I can report that he’s doing very well indeed. He’s 77, but looking at him you wouldn’t place him older than his mid-fifties. He still has that irrepressible cheekiness, a very nice line in occasional self-deprecation, natural confidence and authority, and absolutely immaculate comic timing. It’s true; some of his material isn’t very 21st century. Whilst Mrs C was pleased to note the total absence of mother-in-law jokes, they had been replaced by “ugly women” jokes. To be fair, they were often very funny.

Des O'Connor and Jimmy Tarbuck 4Mr Tarbuck (hereinafter Tarby) still uses that classic structure for many of his showpiece jokes – I mean those that aren’t one-liners. He sets them up with a statement that will end with a certain sequence of words; pause. Then comes another statement, ending with the same sequence of words; another pause, whilst suspense/curiosity/anticipation builds. There might even be a third statement, that ends with the same sequence of words – audience by now making up their own punchlines. Then comes the killer final statement that will take the sequence of words and turn them on their head to potentially devastating comic effect. I remember him doing that in the 70s, and he still does it today – brilliantly.

Des O'Connor and Jimmy Tarbuck 5Mr O’Connor (hereinafter Deso) has quite a close association with our beloved Northampton, as he was evacuated here during the Second World War, worked at Church’s shoes (very posh) and even had a stint playing football for Northampton Town. Today he still has that wicked glint in his eye, and at 85 he can still look down on young Tarby. But he did admit that he wasn’t feeling too well, with an ear infection affecting his balance, and would we mind if he sat down for most of his set; of course not – huge kudos to him for still going on with the show despite his health issue.

Des O'Connor and Jimmy Tarbuck 3I’m going to forgive him for starting the evening with a terrible homophobic joke and put it down to the infirmity of his age, as Regan said of Lear. Moving on, with the aid of a big screen, he reminisced about some of his favourite TV appearances – with Morecambe and Wise (naturally), Rod Hull and Emu, Benny Hill, Bernie Clifton and many more. We sang with him as he accompanied himself on a video of him singing with Neil Diamond (are you still with me?) and bizarrely it worked, as the rafters of the Royal and Derngate rang out to the chorus of Sweet Caroline. Deso also led singalongs to Carole King’s Will You Love Me Tomorrow and Tony Christie’s Is this the way to Amarillo, but, sadly, no Dick-a-Dum-Dum, which I’ve always thought was a truly charming look at Swinging Sixties London. Isn’t always the case that artists never perform your favourite song? It’s an unwritten law of Live Performance.

Des O'Connor and Jimmy TarbuckThere was precious little hesitation in the audience to rise for a standing ovation for these two grand old chaps. For Tarby, he absolutely deserves it for still delivering 45 minutes of cracking stand-up. For Deso, he deserves it in recognition of all the years of happy entertainment he’s provided, even from before I was born. They’re still touring this unique get-together show for a few more dates this year: 7th October in Harlow, 29th October in Reading and 5th November in Newcastle. These young lads deserve your support!

The Edinburgh Fringe One-Weeker 2017 – Late Night, 26th August 2017

Late NightTaking us up to Sunday morning is Late Night at the Bedlam Theatre at 23:00 on Saturday 26th. Here’s the blurb: “Strap in tight to the most rad, bizarre, awe-inspiring comedy and alt-performance rollercoaster at the Fringe! We’re back for our third year with one-off takeovers from your favourites, cabaret stuffed to the gunnels with fun and a feeling of general satisfaction. Last year’s stage was graced by Fern Brady (The Alternative Comedy Experience, 8 Out of 10 Cats), Andrew Ryan (Russell Howard’s Good News), 2016 Funny Women Awards winner Harriet Braine, sketch-mongers Princes of Main, Fringe First nominee clown Helen Duff and World Poetry Slam champion Harry Baker. This year’s line-up is ruddy epic – get down here!”

Not entirely sure what to expect – and I guess that’s the point! A variety of comics and cabaret artists, I hope, with that unpredictable Fringe twist. Check back shortly after midnight to see what happened. By then the final preview blog should be available to read too.

So it turned out to be an hour in the company of Lach; an American guitar singer who also tells jokes and does poetry. I found his music soporific, but in a good way. But it was very low key in comparison to what I was expecting, and I wouldn’t have booked his show under other circumstances. Sorry Lach, I just wasn’t your natural audience.

The Edinburgh Fringe One-Weeker 2017 – Jess Robinson: Unravelled, 23rd August 2017

Jess RobinsonI am sure the next show will be both a musical and comedy highlight of the week. It’s Jess Robinson: Unravelled, at the Udderbelly @ Underbelly, George Square, at 19:00 on Wednesday 23rd. Here’s the blurb: “Multi award-winning Jess Robinson returns with more spot-on celebrity impressions, musical comedy and stunning vocal gymnastics. Like a wonderfully malfunctioning jukebox, Jess and her incredible band take you on a dizzying journey through hilarious improvised musical mash-ups, serving a feast of styles and genres from Billie Holiday and Liza Minnelli to Iggy Azalea, Beyoncé and Kate Bush. ‘No matter what your tastes this Fringe… Robinson will entertain them all’ ***** (Edinburgh Festivals Magazine). Arts Award Voice Award 2015/16, Amused Moose Peoples Champion Award 2015, Mervyn Stutter – Pick of the Fringe Award 2015, Chortle Award nominee 2014.”

We’ve been meaning to catch Jess Robinson’s solo shows ever since we saw her in Hamlet the Musical – where she was a scream. Check back around 8.30 pm to see how brilliant she was. By then the next preview blog should be available to read too.

Jess is a brilliant impressionist and a superb singer, and it was a great fun show. Guess who sat in the front row and ended up participating in an Angel delight eating contest, and losing… But then Jess sang me a love song which was hilarious. Great fun… Now to chuck up some Angel delight.

Review – Olly Murs, 24 Hrs Tour, Northamptonshire Cricket Ground, 14th July 2017

Olly MursWhen our friends Mr and Mrs Flying-the-Flag asked us if we’d like to join them to see Olly Murs in concert, my initial reaction was – absolutely! He’s a big name, and I was sure he’d recorded some good songs, and I always like to support the town giving us big attractions for our amusement and entertainment. After a little while, the reality kicked in. I couldn’t name any of his songs. Nor could Mrs Chrisparkle, although she knew she liked him. So one week before the concert I toddled off to iTunes and downloaded all his tracks that appeared to be popular.

Louisa JohnsonAnd, guess what? Of course we know him. He’s done so many upbeat, jolly, poppy pop songs over the past few years that it would be impossible not to enjoy an evening in his musical company. Several thousand others had clearly had the same reaction, as was clear when we joined a queue three-quarters of the way down a terraced street before you turn right to get to the Cricket Ground. Mr Flag had secured us Platinum tickets, as befits our distinguished status, which meant we could leapfrog the queue and sneak into the ground just to the right of the portaloos; distinguished indeed. It also meant we could watch the show right by the front of the stage – or at least we could have done if a few other thousand equally distinguished Ollyites hadn’t already beaten us to it. Still, we got pretty close, even if we were on the side; and we arrived just as support act Louisa Johnson took the stage.

He's on stageThat was my next question. As non-watchers of X-Factor, we hadn’t a clue who she was. Mr Flag gave us the rundown. She’s only 19! And she supports West Ham, so she’s Alright By Me. I’ll confess I can’t now remember any of the songs she sang but she was full of fun, had a great voice and personality, and had who knows how many thousands of punters in the palm of her hand.

She's on stageAfter a thirty-minute break, designed for us to go and buy some ludicrously expensive food and drink – we declined the option – the huge stage welcomed Olly Murs. Backed by a fantastic band, and loads of great backing singers, visually the whole sight of it made a huge impact. There was a screen at the back of the stage that, for some of his songs, showed quirky pre-recorded footage of him performing the very same song that he was singing live – and of course the live Olly and the pre-recorded Olly were in perfect synch. I’d not seen that done before and it was really arresting.

You Don't Know LoveHe very much geared his act towards the ladies; in fact, the way he said it, they were more like laydeez, with the guys in the audience only given the occasional passing nod. I guess this is his stage persona, but I have to say it didn’t make me feel quite as welcome as I might have liked. He also played quite a bit to the kids, which was nice, as he certainly attracts the teenage – and younger – girls. One young teenybopper jumped up and down in front of our noses for almost the entire time he was on; it’s great to see their enthusiasm. There was a bizarre moment when he was introducing a song and nearly uttered a swear word, but then he covered his mouth with his hands and said that he wouldn’t say that word because there were kids present. Funny, seeing as how the rest of the time he was implying that he’d like to shag their mothers. For his final hurrah, as he was leaving the stage after the last song, he suddenly ripped his shirt off and gave us a gratuitous ten second gawp at his chest. To be honest, I could have done without that, but I’m guessing it wasn’t for my benefit. Mrs Flag wasn’t impressed either, as she obviously prefers the more hirsute kinda guy.

Wrapped UpBut we were there for the songs, and in that department, he was absolutely ace. I recognised most of them; he kicked off with You Don’t Know Love, which was a great starter, and followed it with Wrapped Up, the essence of bubblegum pop and a huge crowd-pleaser. The others that I really enjoyed were Heart Skips A Beat – which he could probably have performed three or four times and no one would have minded; and three absolute classics of modern pop, Dear Darlin’, Mr Flag’s favourite Dance With Me Tonight, and my favourite, Troublemaker.

And another songHe showed disarming honesty by saying that normally a performer would go off at the end, wait a few minutes then come on again for an encore; but we all know the going-off is fake, so what’s the point? So he simply stayed on to perform Mrs Flag’s favourite, Kiss Me, and finally Years & Years, which I hadn’t downloaded earlier in the week, so left me slightly dissatisfied for a final memory; particularly as he didn’t sing Please Don’t Let Me Go, which is my other favourite. Still, I got a pretty good hit-rate for the songs I knew and liked. Oh – he also performed his duet with Louisa Johnson, Unpredictable. I liked it; Mrs C was not so sure. The one thing we all agreed was that he’d be perfect for Eurovision. No, honestly, he really, really would.

TroublemakerOlly Murs is a terrific showman and packed his 90 minutes with vitality and energy. Sometimes you see an established act and feel a little short-changed, as though they were phoning it in. Not so with Mr Murs, you couldn’t ask for more conviction and pizazz from a performance. He’s about two-thirds of the way through his tour, but there are still plenty of opportunities to see him all round the country between now and 27th August, and I can guarantee you’ll have a great time.

P. S. Apparently it’s compulsory at an Olly Murs concert to chant out Olly, Olly, Olly, Oi, Oi, Oi. Several waves of this refrain drifted out from the ground towards the stage during the course of the evening. I broke the bye-law by not joining in, but Mr Flag was giving it large, like the great big kid he is. I’m not sure how much Mrs Flag appreciated it being bellowed in her ear.

A Beginner’s Guide: Attending a Classical concert at Royal & Derngate

Hey there! Have a read of a blog post I’ve written about attending classical concerts at the Royal and Derngate! You can find the original here!

RPOWhen Mrs Chrisparkle and I moved to Northampton in 2008, she’d never been to a classical concert at all, and I’d only been once, as a teenager, trying to impress a very arty girl I was trying to go out with at the time; I was definitely boxing above my weight. We went to the elegant Wigmore Hall in London; a very grand location, where the music was appreciated reverentially and the less accessible it was, the better. I remember a programme of tedious heavy strings, sombre percussion and plodding piano. It was dismal, tuneless, pretentious nonsense. It didn’t even impress the girl, who later confessed she would sooner have seen Abba The Movie.

RPO1-300x200It was only when we first read about the full range of delights on offer at the Royal and Derngate, that it occurred to us this was a great opportunity to discover what live classical concerts were all about. The Royal Philharmonic Orchestra visit about five times a year, each time with a varied programme, which probably consists of a rousing overture, a concerto that calls for an expert soloist, and a stonking good symphony to round the concert off. The theatre also hosts the annual Malcolm Arnold Festival, celebrating the brilliance of our famous local composer. This culminates with a gala concert, which has been performed in the past by the likes of the Worthing Symphony Orchestra and the BBC Concert Orchestra; in 2017 the Royal Philharmonic are taking up this challenge. You don’t have to get on a train down to London and pay London prices for a classical concert experience when world class orchestras come up to Northampton; you can get tickets for as little as £15 – even less if you subscribe to three or more concerts in the season.

RPOThe Royal Philharmonic Orchestra: what does that say to you? Three random words, which, when you put them together, make beautiful, must-see music? Or do you think “it’s far too posh for the likes of me, I wouldn’t dare go to a classical concert”. Maybe you might think it would attract an audience full of stuffy old people, all twin-sets and war medals, so you wouldn’t fit in. Maybe you’re worried about concert etiquette and think you will make a fool of yourself by applauding at the wrong time? Maybe you already enjoy going to see the terrific plays that are regularly produced at the Royal and Derngate, but don’t know much about classical music – and think you’d find it boring? Well, if you’ve not been to a classical concert at the R&D before, and are wondering if you should try it – fear not, I’m here with some advice for you!

RPO2-260x300First off – is it a posh occasion? Definitely not. Classical music attracts equally the rich man in his castle and the poor man at his gate. Old, young, families, couples; groups of friends and relatives; singles wanting to concentrate on the music or indeed find another single person also interested in the classics! All are welcome. Wear what you like – you can be as smart or as casual as you wish, you don’t have to dress any differently from how you would normally for the theatre or the cinema. Everyone fits in – to be honest, the audience are concentrating on the orchestra and are not at all concerned about whether the other audience members are musically trained, public school educated or look smart!

Nigel Kennedy plays BrahmsEtiquette – when should I applaud? Traditionally, you applaud at the very end of each complete piece. So, whether you’re listening to a three-minute overture or an hour-long symphony, you would still applaud when it’s finished – i.e. after three minutes or after an hour. Sometimes it’s hard to work out whether a longer piece, like a symphony or concerto, has finished or not. But there are always clues to watch out for. Take your cue from the conductor. If he’s still facing the orchestra, baton poised in his hand, looking serious, it may well not have finished yet. If he’s relaxed, baton down, and he turns to face the audience – it’s over.

RPO3-300x200I like to play a game with myself, trying to identify the individual movements within a larger piece. If you buy the programme – which is a really good idea, because it’s crammed with information not only about the performers and the composers, but also about the individual pieces that are played – you can find out how many movements there are and try to spot where each one ends and the next one begins. If you know your scherzo from your andante, that helps; but even if not, the programme notes will assist you identify the livelier sections from the quieter sections – and that way you can follow the music as it progresses. It’s really rewarding when you say to yourself, “there’s a change of mood coming up” or “it’s just about to finish” – and you’re right!

English Classics with Julian Lloyd WebberThat also goes to show that you don’t need to know the music in advance in order to enjoy it. It is amazing how many familiar tunes though are lifted from classical works, and it’s fun to suddenly realise “I know this! It’s from that carpet advert!” Many of the pieces that the RPO include in their programmes are very well-known, and you can hear an audible sigh of pleasure when the audience suddenly recognises a tune. Recently they played Rossini’s William Tell overture and not a soul wasn’t thinking about the Lone Ranger.

RPOgroupAnd it’s not just about the music – live performance always has a theatricality all of its own. When you’ve got maybe forty or more musicians on stage, there are always mini-dramas to enjoy. See what kind of a relationship the conductor has with the musicians, whether they’re jokey or serious. See how the soloist reacts to the rest of the orchestra – are they aloof or one of the lads? Watch out for sneaky chatting between the violinists, or the percussionist dashing over to the celeste just in time to play a few notes before dashing back to the triangle, or the tuba or double-bass player making themselves giggle by how low a note they can get their instrument to play. I love watching the interaction between everyone – their mutual admiration for each other’s skills, how they turn each other’s sheet music pages, how they might even look at each other with amusement or horror if something doesn’t go quite right. All sorts of things can happen on that stage, and it’s all part of the live entertainment!

Natalie Clein plays DvořákThere’s often a pre-concert talk which gives you a further opportunity to understand a little bit more about the pieces and what to listen for – I don’t normally get around to seeing the talk, but I have a friend who wouldn’t miss them for the world. I’m more likely to get to the theatre half an hour before the concert starts, order a couple of glasses of Merlot for the interval, study the programme to see exactly what’s in store, make my way to our favourite seats, and then just let it all wash over me.

Last Night of the Derngate PromsOver the years we’ve seen some extraordinary concerts – including great soloists like Julian Lloyd-Webber, Nigel Kennedy, Natalie Clein, John Williams and Jack Liebeck; we’ve heard Ravel’s Bolero, Holst’s Planets, Elgar’s Enigma Variations, the 1812 Overture, Dvorak’s New World Symphony and all the fun of the Last Night of the Proms, RPO-style.

CinderellaThe next concert, on 16th July, is a Film Music Gala and would be the perfect introduction to the Royal Philharmonic concerts for anyone who feels they might enjoy them and wants to dip their toe in the water. We can expect loads of memorable and recognisable tunes, from Star Wars to Titanic; and the vocalist is Alison Jiear, who not only won the nation’s hearts on Britain’s Got Talent, but she also sang like a dream in the R&D’s Cinderella in 2015. She will be singing some of John Barry’s best loved film tunes and I’m sure she’ll make them her own. And of course, it will be a chance for the Royal Philharmonic to show off their livelier and more informal side. I can’t wait, it’s going to be brilliant. Why don’t you book too?

Review – Jan Mráček Performs Mendelssohn, Royal Philharmonic Orchestra, Royal and Derngate, Northampton, 18th June 2017

RPO June 17It’s always a pleasure to welcome back the Royal Philharmonic Orchestra to Northampton – this time, on the hottest day of the year so far; as the concert began we were still basking in 29° sunshine outside so very wisely the gentlemen of the orchestra adopted shirt sleeve order – otherwise they would have found it unbearable on stage.

Martyn BrabbinsOur conductor – new to us – was Martyn Brabbins, whose credits include 120 recordings on CD and who is currently the Music Director of the English National Opera. He’s an avuncular looking chap, a little like Great Uncle Bulgaria’s younger brother, who’s not averse to leaning back on his tippy-toes and then stabbing his baton at full force into the general vicinity of the orchestra if that’s what it takes to get the best out of them.

Two harpistsOur opening piece was Debussy’s Prélude à l’après-mid d’un faune, a beautifully gentle way to start the evening. We were presented with the stirring sight and sound of not one but two harps and harpists, Suzy Willison-Kawalec (who taught my Goddaughter to play the harp) and Emma Ramsdale. You can really hear the difference when two harps are playing side by side, the music is so much more powerful, even when it’s delicate. The orchestra really brought out the fragility of this piece and it was a stunning opener. I was also struck by how similar its first few bars are to Stravinsky’s Rite of Spring. Debussy predated it by almost twenty years.

Jan MracekFor our next piece, we welcomed our soloist, Jan Mráček, for a performance of Mendelssohn’s Violin Concerto. You know you are getting older when the soloists are getting younger, and pan Mráček clocks in at 25 years old but with the gravitas of a man much older. He’s already won some kind of award by being the only person in a jacket (poor him) and as soon as he plunged himself into the first movement, we knew we were in for a treat. He played the Mendelssohn with an elegant seriousness but tempered with true enjoyment. He gave it fantastic expression and we were both absolutely wowed by his performance; all from memory, with amazing control and superb finesse. There’s a section where (as it seems to me, in my layman’s terms) the bow has to bounce lightly over all the strings in sequence, and then bounce back, and then back again and back again across the bridge and so on and all that time there wasn’t one moment where the tone suffered – none of those little squeaking or clattering noises you sometimes hear when the playing gets intense, it was absolutely precision perfect. I don’t know how he does it. I read that pan Mráček plays a violin made in Milan in 1758; it may well be that the craftsmanship of the centuries adds to the warmth and passion of his performance.

RPOAfter the interval we welcomed back the orchestra – still with two harps – for Shostakovich’s Fifth Symphony. Written at a time when Shostakovich was persona non-grata with the Stalin government, he was literally composing to save his life – and the power of the symphony really reflects this. Too complex for someone like me to give it any kind of narrative, the Fifth Symphony is full of superb tunes and dramatic explosions, and the whole orchestra gave it so much life and zest. Outstanding for me was a beautiful pizzicato sequence and again the way the harps blended with the celeste was just plain gorgeous.

It wasn’t the largest audience I’ve seen at the Derngate for one of these RPO concerts, but it was certainly an appreciative one as the orchestra gave us a memorable night of exquisite performances. They’re back on 16th July with something a little lighter – a Film Music Gala. Why not come and join us?!