Jonathan Dodd shares his review of the latest Isle of Wight Symphony Orchestra (IWSO) concert. Images from the rehearsal with kind permission of Allan Marsh. Ed
On the cold and damp evening of Saturday 22nd January, I made my way to the Medina Theatre to attend a concert by the Isle of Wight Symphony Orchestra. I had been unable to go to the first concert of the new season in November, and I was looking forward to an evening of varied and sumptuous music.
The bad weather and uncertain times meant that every seat wasn’t taken, but that didn’t alter the sense of expectation which pervaded the theatre as the orchestra and the audience warmed up.
The site of Croydon Hall
The first offering was written by Malcolm Arnold, entitled ‘The Fair Field’. He was commissioned to write a piece celebrating the first ten years of the Fairfield Halls in Croydon, built on the site of the annual fair for several centuries, as part of the efforts to rebuild and rejuvenate in the years after World War ll. Malcolm Arnold was a prolific composer of all types of music, from symphonies to film scores.
This overture had the feel of a visit to a fair, full of boisterous crowds and rides. The orchestra began vigorously, and kept up a light but disciplined touch as the music swirled round rather like the attention of an excitable visitor to a fair, whose concentration was taking in and enjoying all the sights and sounds.
There was a variety of themes taken up by many of the players, and a feel of light feet dancing to many different tempos, and a fantastic energy to the playing, building up to a tremendous finale. It was just the thing to warm you up on a cold January evening.
Not the Poet
Next was a violin concerto by Samuel Coleridge-Taylor. I have to admit that I had never been aware of him, always assuming it was a misprint when referring to the poet Samuel Taylor Coleridge.
The two are not in any way related. This British composer thrived between the last two centuries, being of mixed-race and becoming very popular in The United States of America, where he was known as the ‘Black Mahler’.
He was coincidentally born in Croydon, not far from the aforementioned Fair Field itself. He was classically trained, and sought to incorporate his ethnic influences in his works.
The original score was lost at sea, and he had to rewrite it, which delayed the premiere in 1912, but he died before he could hear it at the age of 37.
Solo violinist Charlie Lovell-Jones
There was a buzz of excitement when the violinist Charlie Lovell-Jones took his place on the podium. Although still in his early twenties, he immediately made an impression, of confidence and congeniality, both with the orchestra and the audience.
This was a concerto where the soloist would often start playing with the orchestra, then diverge, while being accompanied, rather than leading and being followed by the orchestra. He played with ease and energy, always aware of the orchestra behind him, and with a smile on his face. They all were obviously really enjoying themselves.
The themes were lively, like a series of dances, and the whole concerto seemed to fly by. The enjoyment was also felt by the audience, who applauded vigorously at the end, in a display of huge appreciation. I feel that we might see more of this accomplished young musician.
The First, or the Sixth Symphony
After the interval, it was time for the orchestra to settle down and play Dvorak’s Sixth Symphony. In 1881, when it was first performed, he had not published his first five symphonies, so many in the audience were surprised at its maturity.
His Ninth Symphony, ‘From the New World’, is well-known now. It is infused with Czech folk music, which was not so popular in Austria-Hungary at the time, but went down very well in Prague, the Czech capital.
The orchestra had plenty of opportunities to play the lyrical themes and the lively tunes and rhythms, and it was possible to get lost in the beauty of the sounds and the lovely playing. This was a more thoughtful symphony than usual. With little percussion and no great variations in loudness or dramatic moments.
It was lovely to listen to, and all the musicians in the orchestra gave it their all. I was particularly impressed with the sight of the three cushions supporting the injured foot of one of the violinists. Such is their dedication.
I had a fantastic
evening, and went back home happily humming to myself. Thank you
again. And thank you, as always, to Jane Pelham, without whose
detailed programme notes I would be in even more difficulty than
usual.
Next Concert
I’m looking forward very much to the next concert, on Saturday 19th March.
There’s a World Premiere, of a work by Louis Mander, called Jacob’s Ladder, and the Three-Cornered Hat, by de Falla. And Grieg’s Piano Concerto in A Minor, which should be wonderful, and another lovely rural piece by Butterworth, called The Banks of Green Willow, followed by the ever-popular and utterly brilliant Enigma Variations, by the great Edward Elgar.
Book now
It’ll be a full programme, with a mixture of the familiar and the unknown, with great music and the promise of sublime and glorious satisfaction.
Who would miss that?
Get your tickets before they’re all sold out, or you might miss a treat. See you there!
