Posted tagged ‘salomon orchestra’

I’m still here

October 9, 2013

IMG_1036Having acquired some rather snazzy business cards publicising my WordPress blog site, I felt it would be only fair to post something informative on it  – my blogging activity having fallen by the wayside, thanks to the ease and instantaneity of Facebook… so here’s a quick update.

Recent projects:

Surtitles
Nino Rota’s Il cappello di paglia di Firenze for Wexford Festival Opera (hilarious!)
Berlioz – Roméo et Juliette for the Philharmonia Orchestra at the Royal Festival Hall

Translations –
Songs for Elizabeth Watts recital in Bath
Richard Strauss songs for the Salmon Orchestra’s 50th birthday concert
Some interesting numbers for L’Arpeggiata at the Wigmore Hall

Programme notes –
English Chamber Orchestra concert on 9 October

Bassooning –
Invicta Wind Orchestra concert (including a featured contrabassoon solo!)
Salomon Orchestra 50th Birthday concert – contra in Strauss’s Till Eulenspiegel and Shostakovich Symphony No. 7.  A quite amazing occasion

Coming soon:

Surtitles –
Another Roméo et Juliette for the LSO
Act II of Tristan und Isolde for the LSO
Weber’s Euryanthe for Chelsea Opera Group
Offenbach’s Fantasio for Opera Rara
…and bookings ahead into 2015, thanks to Chelsea Opera Group, the Philharmonia and the CBSO

Programme notes, etc. –
Programme note, synopsis and pre-performance talk on Weber’s Euryanthe (Chelsea Opera Group, 23 November at Cadogan Hall:  be there!)
Programme notes for ECO concerts in November and December
Article for The Royal Opera for a forthcoming programme book (no idea what it will say yet…)

Translations –
A large batch of songs for the Kirckman Concert Society

Bassooning –
Beethoven 5 (contra) for the Sussex Concert Orchestra
The Rehearsal Orchestra – Rheingold weekend conducted by David Syrus (can’t wait!)

So ‘retirement’ is a continuing to be busy and exciting experience!  And we love living here on the South Coast.

Will try to keep you all posted on this site…

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Salomon Orchestra, 3 March 2009

March 4, 2009

salomon

London has dozens of amateur orchestras, each proclaiming itself ‘the finest amateur orchestra in the capital’.  Well, the Salomon Orchestra really is the finest non-professional orchestra in London.  Founded in 1963, it contains some of the best players on the circuit.  I grew up with these guys (and girls) and a surprisingly large number of them seem to have been in the orchestra for as long as I can remember!  (– which makes one worry where the next generation of really good amateur players is coming from…)

Their concerts are always a treat, and Tuesday’s was something special.  It was interesting to see how many distinguished amateur orchestral players were in the St John’s audience:  many were current or ex-members of Salomon who weren’t actually playing in this concert, but others had come to admire – a sign of the esteem in which this orchestra is held.

Unlike most other amateur bands, Salomon doesn’t rehearse on a weekly basis, but has a series of concentrated rehearsals just before each concert.  This really pays off.  Nor does it have a regular conductor;  this pays off too.  Guest conductor Dominic Wheeler electrified the band into disciplined playing of tremendous precision, energy and musicianship.

The concert opened with Benjamin Britten’s Fanfare for St Edmundsbury – three solo trumpets at corners of the gallery, playing three different fanfares in different keys, separately and then together.  As so often with Britten, a simple trick, but very effective (you think ‘I wish I’d thought of that!’).

Then Britten’s unjustly neglected Violin Concerto from 1939, an ambitious and accomplished work from a 26-year-old composer with a firm grasp of contemporary musical developments across Europe (and the world:  the score was completed in Canada and the USA).  In its breadth and easy authority it reminds me of Bartok’s 3rd Piano Concerto, although there are astonishing echoes (or pre-echoes) of Shostakovich and Prokofiev.

Soloist was the assured and hugely talented Sara Trickey, who conveyed the work’s searing intensity with power and brilliance.  If the last movement seemed to outstay its welcome, that might have been my fault rather than Britten’s.

After the interval, Dvořák’s unfamiliar Othello Overture – alas, unfamiliar to the orchestra too, it seemed:  I guess the rehearsal time had been mostly taken up with the other works on the programme.  But despite uncharacteristically ragged ensemble and some wrong entries, the performance was powerful and compelling, and Dvořák’s sonorities were beautifully conveyed (who else would score a chord for brass with just a cor anglais added?).

Finally, the piece I had come for:  Martinů’s Symphony No. 6 (more…)