Jonathan Dodd shares his review of the latest Isle of Wight Symphony Orchestra (IWSO) concert. Thanks also to Allan Marsh for the photos – see his full gallery. Ed
Last Saturday I went to the last Isle of Wight Symphony Orchestra concert in this season.
Traditionally the IWSO finish with something extraordinary, and this year they outdid themselves, with a breath-taking programme of works that were both varied and spectacular.
It was intensely visual, and exciting too
The first item was Malcolm Arnold’s Peterloo Overture. As usual I knew very little about it, apart from a vague recollection of the ‘Peterloo Massacre’ from school. The piece was commissioned by the TUC in 1967 to commemorate this real event that took place in 1819. It started in a lyrical way, with a beautiful tune that seemed to describe the peace and tranquillity of the countryside.
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Then, abruptly, the orchestra broke forth with an eruption of sound, which described the violence of the cavalry charging into the crowds. The fear and confusion and horror of all those casualties thundered around the Medina Theatre, and gradually subsided to a quiet ending, that was equally mournful and angry at the injustice. It was graphic and vivid, intensely visual, and exciting too. I loved it.
Sparkling with freshness and buzzing with energy
The second piece of music was a World Premiere, and couldn’t have been more different. Ian Stuart Lynn lives in the Island, and was married to Alison Taylor, who played with the IWSO as a violinist. Ian was a musician and composer for many years, but began this four-part symphonic poem about Farthing Down, an unspoilt piece of ancient landscape near Coulsdon.
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The orchestra played us the first part, named ‘Awakening’. It described with great delicacy the beginning of a day in Farthing Down, painting a picture of morning mists and gradual dawn as the landscape and its inhabitants wake to a new day. The music gradually built to a portrayal of full morning sunlight, sweeping over a scene of meadows and woods, sparkling with freshness and buzzing with energy. It was lovely, and I’m really looking forward to hearing the other three movements.
Segueing into a full French Military March
The third piece before the Interval was written by Camille Saint-Saëns in 1881. The Suite Algérienne is a very French depiction of impressions of Algeria. The first three parts evoked the views and melodies of Algeria, using Arab tunes and rhythms, and segueing into a full French Military March, with the brass section letting rip in full Brass Band mode, supported by the rest of the orchestra. It was stirring and thrilling, and brought the first half of the evening to a superb climax.
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After a Frenchman’s impressions of North Africa, we were treated to a Russian’s portrait of Spain. Nikolai Rimsky-Korsakov hadn’t been to Spain, but wrote a Capriccio Espagnole, a set of five dances with Spanish themes. He achieved the Spanishness by using a lot of rhythms and exotic snatches of tune that repeat amongst many instruments.
There was some excellent castanetting
There was a sense of blazing colour and heat throughout, and enormous energy as the music criss-crossed and wound itself round the different instruments, like a troupe of very energetic dancers. And there was some excellent castanetting. Just like the original audiences, everyone enjoyed its infectious exuberance very much.
From Spain we were then whisked to Austria at the beginning of the 20th Century. Franz Lehar wrote the Merry Widow in 1905, and the orchestra played the waltz ‘Gold and Silver’ from this operetta. It was an unashamed romantic waltz, played full-on, and it was impossible to sit still without tapping or jiggling something, with a big smile on your face while it played.
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You could close your eyes and see a huge ballroom crammed with couples in grand uniforms and dresses gliding at speed in and around each other, and the one special couple playing their own romantic game. We were encouraged to hum the famous tune as well, but we were never in danger of drowning out the orchestra. It was fun.
As if they were playing it exclusively for me
After Lehar we returned to Russia, and Dmitri Shostakovich’s Jazz Suite No. 2. I confess that I had various incorrect impressions of this beforehand. Shostakovich never called it a Jazz Suite, although it was commissioned by the state Jazz Ensemble in 1938. I thought he wanted to listen to Jazz but wasn’t allowed to, so he wrote music that he thought it might be like instead. That was my romantic notion when I first stumbled upon it a few years ago, and it added to its charm and appeal in my mind.
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I had never thought to hear this delightful suite of dances actually played in front of me, so I was hopeful for all my expectations to be fulfilled, and the IWSO didn’t let me down. It was as if they were playing it exclusively for me, and I was spellbound. I never realised how difficult some of it would be to play, and how much concentration would be needed to keep to its complex rhythmical structure and use of abrupt stops and starts.
One of the best musical experiences I have ever had
I couldn’t pick anyone out for special praise, because they were all wonderful. Everyone in the orchestra gave it their total concentrated attention and played their hearts out. Thank you for making this one of the best musical experiences I have ever had, and exceeding my largest hopes. Three days later I still have a silly smile on my face while remembering it.
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The finale of the evening was called Salute to the Big Apple, arranged by Calvin Custer. It was a grand luscious orchestral suite combining themes from two films – New York New York and Forth-Second Street. The orchestra went into full dance-band mode, swinging to the beautiful tunes (I especially love Lullaby of Broadway) and letting the gorgeous orchestration flow and flood round the theatre. And for the first time I heard the sound of a full drum kit in an IWSO concert. It was a delight to see even Jonathan Butcher swaying while conducting. I must watch Busby Berkeley again.
Full of magical mystery and beauty and crammed with emotional charge
As if that wasn’t enough there was an encore. We were treated to the sounds of Moon River, by Henry Mancini, from the film Breakfast at Tiffany’s.
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It was beautifully played, full of magical mystery and beauty and crammed with emotional charge, and it was a wonderful coda to a fantastic evening. Thank you all.
Book now for next season
Next season’s timetable is now out. You should hurry to get tickets for the first concert on 19th November.
The IWSO will play Elgar’s Enigma Variations, as well as some Beethoven and Mendelssohn. Later in the season there’s going to be Sheherezade by Rimsky-Korsakov and a Brahms Violin Concerto, and a Vivaldi Recorder Concerto.
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I shall love that – and more Shostakovich, and Ravel and Saint-Saëns, and the music from the Onedin Line (the Adagio from Spartacus by Khatchaturian) and loads of other stuff. Or you can buy season tickets at an excellent price for the whole season.
I can’t wait. See you there.
Image: © With kind permission of Allan Marsh
