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 was a beautiful day. The Isle of Wight was at its best, with a deep blue sky and glorious sunshine.
In the midst of the Island in Havenstreet, at the headquarters of the Isle of Wight Steam Railway, the car park was full, and hordes of people made their way through the wooded path to the entrance, laden with chairs and picnics, bringing their children and various well-behaved dogs, and found their places in a large grassy field in front of a specially-erected tent, to enjoy a fabulous open-air concert by the Isle of Wight Symphony Orchestra.
Everyone was in a good mood, lulled by the balmy day, and there was a sea of sunhats. I’ve never seen such an array of Panama hats and Hawaiian shirts at a railway station before.
Open-air Underworld
The orchestra was in festive mood too, smiling excitedly and chatting away, until our conductor Jonathan Butcher appeared, and then they launched into a spirited rendition of Orpheus in the Underworld, by Jacques Offenbach.
I reviewed this recently after hearing it played at the Medina Theatre, and it was just as good, with the added benefit of hearing it in the outside air, through speakers. Everyone responded enthusiastically, especially during the Can-Can section, and the applause was almost loud enough to drown out the noises from the trains at the station. It was lovely, and started the afternoon off perfectly.
Picturesque Scenes
Jules Massenet was a prolific composer in Paris in the second half of the 19th century in Paris. He was never regarded as cutting-edge, but his lovely fourth suite was perfect for a summer afternoon.
Each section gave different musicians the chance to play solo, and the melodies were in turn lyrical and dramatic, ending in a frantic Bohemian dance with a thrilling ending. Fantastic.
Galloping Train
Mr Butcher introduced the next piece, by Hans Christian Lumbye, called the Copenhagen Stream Railway Galop. Lumbye is not remembered for anything else, but this glorious dance tune was written in 1844, inspired by a train leaving the station.
It starts very quietly, amidst clanks and bells and a cry of “All Aboard!”, and the music embarks on a frantic galloping dance tune as it accelerates on its journey to the next station, where it slows down and stops. Presumably the passengers disembark, the dancers retire for refreshments, and the whole thing starts again. I could have listened to it all afternoon.
The Enigma of Nimrod
The ninth variation in Edward Elgar’s Enigma Variations is so famous that it needs no introduction. It has become a national tune, it’s filled with majesty and packed with emotion, and the orchestra did it justice. These variations are still a puzzle, because nobody knows what the original tune was, nor do they know for certain which people were represented by each variation.
Even the legendary Nimrod is a puzzle, but he was known as a great hunter, who became a powerful king. Elgar had a friend called August Jaeger, which means ‘Hunter’ in German, but nothing is clear-cut. I like it like that. The music is so serene and at the same time so yearning, and I respond to that so completely, on a level that’s too deep to describe or understand, and the IWSO made me shed tears of pure emotion as I listened to it, entranced.
Make Way!
Eduard Strauss was the youngest son of Johan Strauss I, and isn’t as well-known as his father or brothers. He specialised in writing and conduction of fast polka dance music, and his most famous composition is Bah Frei!, literally translated as ‘Make Way!’
This is another frantic dance tune replicating a madcap train ride, also punctuated by whistles and clanks and other train noises. The orchestra had great fun adding in the sound effects as they frantically tried to catch up with the sheer speed required. It was a great ride!
East/West Side Story
The first half of the concert ended with Selections from West Side Story by Leonard Bernstein. This was a suite of music from the show, arranged by Jack Mason, and featured many of the iconic songs from the gorgeous tragic retelling of Romeo and Juliet, originally called East Side Story. The IWSO played this stunning music with huge energy and commitment.
It must be fiendishly difficult to play, with its variety of musical genres, rhythms and moods, and I was spellbound and moved as I always am, no matter how many times I see the show, watch either of the film versions, or just listen to it. I found myself in tears for the second time in the afternoon. The interval, and a beer were definitely needed after that.
Dinosaurs Rule!
More musical genius was played for us at the start of the second half, when the first notes of John Williams’ thrilling score for Jurassic Park rang out across the station grounds.
Once again, music so familiar yet still so startling after any number of listens, this time, with the woods behind the orchestra, it felt like anything could suddenly emerge and run amok amongst us. There were so many great moments for each part of the orchestra to play their hearts out and produce beautiful solo moments, and I loved it.
My Country
Gustav Holst’s sublime introduced the ‘Last Night at the Proms’ section of the concert. I know it’s a patriotic year, and I mean no disrespect, but I always felt this should have been our national anthem. It’s so dignified, and it speaks entirely about how we all feel about our country, with dignity, simplicity and deep emotion.
It’s not about Empire, or war, or belligerence, and it’s entirely inclusive, and therefore close to my heart. It’s also much easier to sing. I recently felt sorry for the Lionesses, struggling to reach the lower notes of our current anthem. The IWSO do a great version. It was a treat to listen to.
Australian composer, Jamaican Rumba
Arthur Benjamin visited Jamaica and liked it so much that he composed Jamaican Rumba, which became a huge hit, becoming so popular that everyone knows it, or at least recognising it instantly from the first notes.
I loved hearing that the Jamaican government started sending him an annual barrel of rum in gratitude for making their country more famous.
It’s a jolly and catchy tune that makes you want to swing your hips and jiggle. I certainly did. The IWSO are nothing if not adventurous, multi-talented, and filled with virtuosity.
Last Night Highlights
The last part of the concert was made up of familiar pieces. First the Fantasia on British Sea Songs by Henry Wood, who also created the Proms. Each song features a different instrument, and all were played beautifully by the respective soloists. Lovely. This was followed by the Pomp and Circumstance March No. 1, deservedly and enormously popular. It’s thrilling and inspirational, brilliantly played.
The finale was Jerusalem, by Hubert Parry, in all its glory, with much choreographed flag-waving and clapping ands singing, conducted with great aplomb by Mr Butcher, who became a singing soloist and master of ceremonies. The field was a sea of waving and bobbing union jacks, and it was wonderful to see so many people united and performing together.
Two encores
There were two encores. First from Charles Williams was Rhythm on Rails, familiar to those of us who remember the old BBC Morning programme, and beautifully describes the sounds and excitement of travelling by old steam train. It was lovely to hear again.
The second was Oxford Street, a march by Eric Coates, depicting the traffic and hurly-burly of what was then one of the world’s most busy and famous shopping streets. It was lovely. And then it was the end, and we all made our way to our various home with happy hearts and big smiles on our faces.
Three things
Three things I noticed that I would like to share.
Firstly, how pleasant it was to listen to great music like this in the open air, with all the movement and random noises not interfering at all with the music itself or my enjoyment of it.
Secondly, the conversations I overheard from people around me, expressing astonishment that such a thing as the IWSO could even exist on a small island, and furthermore how good was the quality of the music. I know this already, but it was wonderful to hear that conversation so many times.
Finally, what a pleasure it was to be able to stand up and jiggle whilst listening to everything, and not have to sit still and quiet. I started my Classical listening on record at home, and I used to turn the volume up high and dance around to it, so there I was doing it again, although in a more sedate way, and it was liberating. I think I would have to characterise it as ‘jiggling’, but it was pure pleasure. Thank you again.
What a great concert! Thank you so much IWSO! Keep up the good work, and have a well-deserved break.
Next season
The next season opens on Saturday 19th November at Medina at 7:15pm. There will be a Dvorak Cello concerto, a Vaughan Williams London Symphony, and a Shostakovich Festive Overture.
Get your tickets now, or just grab season tickets. It’s going to be a brilliant season.
See you there!
