Jonathan Dodd shares his review of the latest Isle of Wight Symphony Orchestra (IWSO) concert. Images with kind permission of Allan Marsh. Ed
Last Saturday I took myself off to Havenstreet Station, the home of the rather wonderful Isle of Wight Steam Railway. It was mid-afternoon of a late July Saturday, with the weather being frankly unpromising, and, like many a fan of events that start at 3pm, I was wondering what exactly I was going to witness. A triumph, or a wash-out?
Luckily, the weather held, and I took my seat on the grass in the makeshift arena, facing a large tent, with big speakers on each side. It felt like an afternoon at a small festival, a bit like Rhythmtree, except that everyone on stage was wearing posh frocks and smart suits. The Isle of Wight Symphony Orchestra was back, but not as we know it.
Jonathan Butcher appeared in his white jacket, and the orchestra immediately struck up with Suppe’s Light Cavalry Overture. There’s a wonderful fanfare from the trumpets, and then the whole orchestra comes in with a tune full of the rhythm of a horse ride, and everything seems to be dancing and circling around, full of joy and movement. The audience, sitting on an assortment of chairs and blankets, hummed and tapped away with big smiles on their faces, and I knew it was going to be a great afternoon.
The Golden Age of British Light Music
Jonathan Butcher then welcomed everyone to the venue, and explained that it was a good way to welcome ourselves back to some sort of normality.
The IWSO had decided to make a programme of music from the Golden Age of Light Music, which spanned the first half of the last century. All of the pieces to follow were familiar to me and most of the audience, even if they had never heard each piece live or on the radio, because they’re part of the heritage of our past, mostly through the BBC.
The next piece was comprised of three scenes from London, called London Landmarks, and was written by Haydn Wood in 1946, just after World War Two ended. It was the kind of music that doesn’t need to have history or relevance, it was just good, positive, tuneful light music that puts a spring in one’s step and helps one to feel cheerful and energetic. I wouldn’t be able to recognise Nelson’s Column, or the Tower of London, or The Horse Guards from any of it, but it might have been very accurate for the mood at the time, and I was happy to just listen and use my imagination.
The last piece was familiar though, because it was used as the theme music for the TV series ‘Down Your Way’. It was lovely, and the music flowed out into the air and through the audience, and made us all feel good.
After London scenes, we moved northwards, and listened to the music from ‘Hetty Wainthropp Investigates’, written by Nigel Hess. It’s a lively tune, and features the trumpet, here delivered wonderfully well by Gareth Balch.
This was brilliantly
followed by ‘Barnacle Bill’, written by Herbert Ashcroft. It was
chosen by those clever people at the BBC as the theme tune for their
new children’s programme ‘Blue Peter’. Hearing this in its
original version, played live, brought a lump to my throat. From the
first drum roll, it was a delight.
The next piece was an unexpected item, at least to me. ‘Tubby the Tuba’ was written by Paul Tripp in 1947, and tells the story of Tubby, who feels neglected because he never plays the tune in the orchestra. He has a friend called Peepo the Piccolo. The piece is narrated and accompanied, or rather, illustrated, by the orchestra in a very clever way.
It requires great co-ordination, and Melvyn Hayes was asked to narrate. He did this brilliantly, and the orchestra worked really well with him, producing lots of effects and illustrating their particular sounds, rather like in Peter and the Wolf. The Tuba was played magnificently by Robin Tweddle, and Debbie Grubb played the piccolo beautifully. It was joyful for the orchestra and the audience, and a steam train at the station produced is own accompaniment.
Almost the Last Night of the Proms
After the interval, the theme of the concert changed, to the IWSO’s own version of the Last Night of the Proms, featuring familiar and less-familiar items with a celebratory emphasis. It began with the Harry Potter Suite, a combination of several pieces of music very familiar from the film series, and written by the ever-wonderful John Williams. We thrilled to the joy and menace and sheer strangeness of the magical world that the music evoked.
This was followed by a complete change of tone. I always loved ‘Puff the Magic Dragon’ on the radio when I was a child, and I used it in schools when I was in charge of assembly music, in primary schools back in the mists of time. I loved the sense of wonder, the evocation of a magical island and a great friendship, and the sadness of growing up and parting. I didn’t know that it was written by Peter Yarrow, of Peter, Paul and Mary, and his college friend Lenny Lipton, who he lost touch with, and I loved finding out that Yarrow had to track down his old friend to give him the royalties. We had the words in the programme, and it brought back happy and sad memories to rediscover this lovely classic. Thank you. IWSO, for reminding me of those times so unexpectedly.
‘Coronation
Scot’ was next, by Vivian Ellis. It was written to celebrate the
power and majesty of the great steam train. It was thrilling to
experience this, and played magnificently by the whole orchestra. Mr
Butcher made special reference to the gas cylinder that simulated the
steam being released, being operated so smoothly by Alex Scott. I
loved it.
Another train-based piece was next, called ‘Puffing Billy’, by Leonard White, inspired by the stream trains on the Island while he was on holiday here in 1952. This was adopted as the theme tune for ‘Children’s Favourites’, on the BBC Light Programme, on Saturday mornings throughout my own childhood. It was wonderful to hear it again.
Lehar’s ‘Gold and Silver waltz’ came next, a breakneck (and probably break-finger) ride if there ever was one, that accelerates right up to the end.
The
last part of the concert contained three Last Night of the Proms
favourites. Henry Wood’s ‘Fantasia on British Sea Songs’,
Elgar’s ‘Pomp and Circumstance March No. 1’, and Parry’s
‘Jerusalem’. We were provided with the words for singing, and
flags were available to buy for waving, along with official
instructions for the speed and vigour of the waving. It was all
conducted with great solemnity by Mr Butcher, and we were encouraged
to stand and sing and wave our flags in an enthusiastic manner.
When I was listening
to the train-related music I remember I was thinking what a shame it
was that the IWSO missed an opportunity to play one of my all-time
favourite moments in film, at the start of ‘Murder on the Orient
Express’ (the Albert Finney one, not the recent version). This was
written by Richard Rodney Bennett, and perfectly captured the
excitement of the launching of the train itself, and the adventure in
the story, as it started to move and accelerate away from the
station. I was to be amazed and delighted beyond belief when the
orchestra played that very thing as an encore. Once again, I was so
enthralled that it felt like it was being played specially for me,
and it was a magical way to complete my afternoon’s entertainment.
All in all, it was different, because the performance was amplified and I heard it through speakers, which I got used to swiftly, and the weather was an active participant, actually raining twice during the concert, and there was a relaxed attitude, which allowed people to eat and drink and talk, and the children were happy to be active as well, but I found I didn’t mind in the least, because it was special, and it meant we have survived, and everything is still possible. I cannot express my admiration and gratitude for the IWSO adequately. I have missed them, and they are BACK! Brilliant.
Next Concert
The next concert will be on Saturday 27th November, at Medina as usual.
There’s ‘Tintagel’ by Bax, which I’ve never heard, and a horn concerto by Gipps, and then Mahler’s 5th Symphony. Something to get my teeth into.
I can’t wait. I’m sure there are tickets still available, so get yours now.
See you there!
Images: © With kind permission of Allan Marsh
