Reviews
Reviews of our recent concerts can be found below.
28th September 2024 - Holy Trinity Church, Barrow upon Soar
Charnwood Orchestra Concert Review
The Charnwood Orchestra gave us a full and varied programme, on Saturday 28 September at Barrow. Throughout, the horn players, especially lead horn player, Simon Marshall, had their work cut out, starting with Rossini’s early overture, ‘La cambiale di matrimonio’, with characteristically memorable and virtuosic phrases, full of energy and fun.
From Mendelssohn’s ‘A Midsummer Night’s Dream’ we had the Intermezzo, a full flowing piece, well captured by the Charnwood Orchestra, where I liked the bassoons’ playful contribution; and the captivating Nocturne, taking us into the lovers’ dreamy world.
Kodaly and Bartok collected Hungarian folksongs, and it showed in the next two pieces. Kodaly’s warm and evocative, Summer Evening, conveying pictures of people and landscapes, moving seamlessly from one scene to another. Conductor Nic Fallowfield was right to introduce this piece, new to me and many others, and I particularly enjoyed the lovely oboe passages. Bartok’s Romanian Folk Dances was far more familiar to me: seven short, often rhythmic folk dances. The Pe loc was striking, with its oriental tonality, and eerie piccolo over strings. A bravura performance.
After the interval came Richard Strauss’ Serenade for 13 Wind instruments, a nicely written piece, well balanced with effective contrasts, giving our wind players a chance to shine.
The final piece was Mozart’s 25th Symphony,‘The Little G Minor’, and the piece was dramatic from the opening Allegro, full of ‘Sturm und Drang’ (storm and stress). The Charnwood Orchestra was on fire as they played this piece purposefully and vigorously, yet precisely. The Andante provided a deliberate contrast, with its major key and calm spirit. The minor key returned with the Minuet, with elegance and passion combined. The Finale, an Allegro, brought things to a strong conclusion. An electric performance.
Anthony Thacker
29th July 2024 - St. James the Greater Church, Leicester
Charnwood Orchestra Concert Review
It was back to St James the Greater in Leicester for the Charnwood Orchestra’s final concert in their golden jubilee year on 29th June, this time with two major symphonies by Austrian composers.
First, one of Mozart’s all-time greats, the Prague Symphony (No.38). Its first movement began slowly, reflectively, almost broodingly, before taking off in more characteristically Mozartian, almost triumphant style, then integrating and developing these elements. By contrast, a gentle, lyrical Andante followed, the Charnwood Orchestra happily taking us on its charming stroll. And with the concluding Presto, Mozart gives us a festival mood, with lots of fizz and fun, and certainly fitting for Mozart’s delight in the city of Prague, where the symphony premiered.
After the interval, we were treated to Bruckner’s magisterial 7th Symphony – an ambitious challenge, to which the Charnwood Orchestra rose joyfully: a highly rewarding experience. The opening movement began with rich string playing, evocative chordal progressions, and once the woodwind and brass joined in, a full, strong sound.
The Adagio provided the emotional heart of the symphony, opening in Wagnerian style – fitting for a piece eulogising the ‘Master’ – and played with conviction, and effectively conducted by Nic Fallowfield, as he handled the changes in tempo and dynamics, guiding the orchestra, as the movement flowed, sometimes quiet and solemn, sometimes grand and full on, complete with four Wagner tubas. The memorable Scherzo followed, with its arresting, strong yet simple motif, coupled with a gentler Trio. And with the Finale, and its chorale-like theme, we again had imaginative harmonic progressions, developed and pressed dramatically to a grand conclusion. An uplifting end to a happy and successful 50th year.
Anthony Thacker
23rd March 2024 - Emmanuel Church, Loughborough
Charnwood Orchestra Concert Review
The Charnwood Orchestra’s golden jubilee year continued with another successful, popular concert at Emmanuel Church on 23rd March, with three classics of the repertoire. First, Brahms’ Tragic Overture – after the strong, dramatic start, we were treated to Brahms in his prime, with characteristic richness of tone, all played with confidence and passion by the Charnwood Orchestra.
Then we were treated to Schumann’s Piano Concerto in A Minor, with Robert Markham as soloist, who inhabited the piece with warmth and feeling, while realising the virtuosic passages with apparent ease – the emotional power particularly clear in the second movement, with its lyricism and growing depth, and the finale particularly showing soloist and orchestra blending together highly effectively.
After the interval, we were treated to an absolutely captivating performance of one of the all-time greats of the repertoire: Dvořak’s ‘New World’ Symphony. The Charnwood Orchestra certainly did not disappoint! The Charnwood neatly navigated the orchestral rapids of the first movement, oscillating between lyrical phrases, urgent passages, homely moments and dramatic lines. After the glorious brass opening of the second movement came the familiar plaintive yet lyrical tune on the cor anglais: wonderfully moving. With the third movement we were back to a musical chiaroscuro, now urgent and gripping, now playful and folksy. For the finale, after the opening drama, another great, familiar tune. This was a movement where – supported by strings and woodwind of course – we had great horn and brass playing, drawing the whole symphony to its powerful conclusion. A fantastic end to a great evening.
Anthony Thacker
13th January 2024 - Humphrey Perkins School, Barrow upon Soar
A view from the audience
This was my first time going to see The Charnwood Orchestra, and to be fair, it did not disappoint!
The orchestra’s advert in the autumn edition of Barrow Voice, prompted me to get a ticket for my wonderful friend, who celebrated her 91st birthday in January, and whose favourite thing in the world is watching the Vienna Philharmonic performing their New Year’s Day concert on TV on January 1st every year.
My first surprise was seeing just how much space a full orchestra takes up: only half the hall was audience space.
I thoroughly enjoyed listening to conductor, Nic Fallowfield, explaining the stories of each of the musical pieces, as well as reading about musical history in the programme.
As the theme for this New Year’s concert was ‘dance’, the orchestra played a wonderful selection of melodies from 19th century composers, dedicating the second half almost exclusively to the Strauss family, with their evergreen waltzes and polkas. I am yet to meet a person not feeling enchanted when listening to The Blue Danube. Having this year’s Vienna concert still fresh in my memory, I felt pure joy being able to experience this beautiful piece of music live, and beautifully it was played too.
My favourite part was matching up the instruments and musicians, according to the list in the programme, giving myself a lovely bit of education on what each of the instruments look like and sound like. We were totally taken by the orchestra’s timpani player, who played every note with a huge grin on his face – which just matched the general atmosphere and joy of the concert and audience.
The evening concluded with the classic Radetzky March and in true Viennese style: with audience participation (I mean clapping along; in case you are not familiar with this tradition)!
We thoroughly loved the concert, had a truly joyous evening, and we are very much looking forward to the next one, for we will be visiting again.
Sarolta Batki
Published in the Barrow Voice, Spring 2024 edition
(https://www.barrowvoice.co.uk/)
13th January 2024 - Humphrey Perkins School, Barrow upon Soar
Charnwood Orchestra Concert Review
The Charnwood Orchestra’s ever-popular New Year Celebration Concert was a sell-out, with the first half full of popular classics, and the second half, a Viennese extravaganza.
First, Offenbach’s ‘Orpheus in the Underworld’, with some lovely accompanied solos on clarinet, oboe, cello and violin, and lively fun culminating in the famous ‘Can-can’. Five sections from Tchaikovsky’s Nutcracker Suite followed – all played with elegance and poise. A contrast followed with the ‘Dance of the Sylphides’ from Berlioz’s Damnation of Faust – with its a dream-like, shimmering sound.
The Mazurka from Délibes’ ‘Coppélia’ came next: a very familiar, lively piece, played with energy. And to complete the first half came the Dance of the Hours from Ponchielli’s ‘La Gioconda’ – a piece now famous for the way others have used it – Disney, in ‘Fantasia’, and even more riotously, Alan Sherman’s unlikely hit, ‘Hello Muddah, hello Faddah’! All played with relish.
The second half took us back to Vienna, with a Waltz and a Polka by Johann Strauss the younger. The ‘Accelerationen’ Waltz, a popular dance from 1860, as its name suggests, exploits changes of speed; while the ‘Sekunden’ Polka, provided a fun piece based on the second interval, adjacent notes tripping along together.
Next, from the youngest Strauss brother, Eduard, the ‘Bahn Frei’ (Clear the track!) Polka, complete with train guard’s whistle! For the Charnwood Orchestra’s golden jubilee year, Franz Léhar’s ‘Gold and Silver’ Waltz – a varied offering, confidently played. Then another Strauss brother, Josef, whose Polka Mazur, ‘Frauenherz’ was delightfully played: a charming piece.
Back to Johann Strauss the younger, and his ‘Klipp-Klapp Galopp’ a fun piece with many clicks. Next, the Blue Danube – which as conductor Nic Fallowfield put it, is more than just a waltz, but also a tone poem, a picture in music, with delicacy on the horn, and the glories of the full orchestra. Then, the Thunder and Lightening Polka – played with fun and energy, especially in the percussion section. And finally Johann Strauss the elder’s Radetzky March, with audience participation of clapping in the traditional manner.
Anthony Thacker
25th November 2023 - Emmanuel Church, Loughborough
Charnwood Orchestra Concert Review
The Golden Jubilee concert and party for Charnwood Orchestra’s 50th anniversary on 25 November at Emmanuel Church, was a sell-out and justifiably so, with two brilliant soloists and a sparkling repertoire.
Leonard Bernstein is rightly famous for far more than West Side Story: his memorable Candide Overture providing a suitably flamboyant, rhythmic and tuneful start to the evening, in which the Charnwood Orchestra, under its popular conductor, Nic Fallowfield, was immediately into its stride.
The welcome return of soprano soloist, Elizabeth Ryder gave us what for me personally was the highlight of the evening: Ravel’s Shéhérazade: a gorgeously atmospheric, hauntingly beautiful set of pieces, with lovely solos and the brilliant harmonisation we come to expect from master orchestrator, Ravel.
It was full nostalgia for me, next, with Tchaikovsky’s Nutcracker Suite, with a romp of a march; the magical sound of the celesta for the dance of the sugar-plum fairy; vigorous Russian dance; evocative, profound simplicity of the Arabic dance; perkiness of the Chinese dance; graceful elegance of the flute dance; and concluding waltz, with glorious harp solo.
The second part opened with two of Wagner’s preludes for Lohengrin: Act 1, opening with just violins, divided – a challenge the players succeeded in sustaining, and Act 3, with its dramatic fanfare-like quality.
We were treated to two pieces by Sarasate with our violin soloist, George Ewart: tunes from Bizet’s Carmen, redesigned for violin and orchestra, with fun, virtuosic, flamboyant yet delicate playing; and then, as encore, Zapateado – full of Spanish flavour.
The evening ended with Ravel’s famous Bolero, our timpanist, Tim Neal, moving from the rear to the front, as side-drum specialist; with a wonderful array of regular and irregular solos and pairings, including a range of Clarinets, and saxophones, all bringing the piece and evening to a gloriously raucous, joyful conclusion.
Anthony Thacker
21st October 2023 - Holy Trinity Church, Barrow upon Soar
Charnwood Orchestra Concert Review
The Charnwood Orchestra’s 50th anniversary started with a concert in Barrow, whimsically called “Barrow in Soar” by locals – with good reason that night! Despite the flooded roads, a good audience arrived for an enjoyable concert which started with Mendelssohn’s perennial favourite, “A Midsummer Night’s Dream”, with its magical atmosphere complete with braying donkey: a strong opening to a good evening.
Either side of the interval we had two section pieces by Dvořak, first his “Serenade for Wind”, where the woodwind instruments shone (supported by solo cello and bass). This charming and melodious piece was new to me with four contrasting movements: a warm opening Moderato; a Minuetto in turns energetic and frolicsome, and then more folksy; an Andante as a gentle stroll through scenic vistas, but which gradually gathered energy; and finally an Allegro molto, suitably pacey, fiery, and with more than a hint of the Dvořak of the Slavonic Dances. The Charnwood Orchestra’s wind section brought all this to life very capably.
The second half began with the strings taking centre stage, with Dvořak’s “Two Waltzes for Strings”, the composer showing his mastery of the genre, bringing great elegance in both pieces, with striking depth in the first and great energy in the second.
The concert ended with the glory of Beethoven, in his Second Symphony. The Charnwood Orchestra played the strong, confident opening movement with suitable confidence. As for the second movement, the dialogue between the strings and the characteristic warmth of Beethoven’s writing for woodwind stood out. A short scherzo in triple time followed, energetic, emphatic and rapid. And the finale, Allegro molto, was full of fizz, pzazz and bounce, played with precision and drive.
An exhilarating end to a very good concert.
Anthony Thacker
24th June 2023 - St James the Greater, London Road, Leicester
Charnwood Orchestra Concert Review
The Charnwood Orchestra’s annual summer concert returned to St James the Greater, beginning with Tchaikovsky’s Capriccio Italien, with its striking opening fanfare and succession of Italian melodies that Tchaikovsky encountered in Rome, and which the Charnwood Orchestra brought to life with gusto.
From the next generation came Glazunov’s Violin Concerto, with soloist Sebastian Wyss, who played the opening rich, warm, lyrical section with a beautiful tone, as also the swaying, surges of emotion that followed. The cadenza was taxing, but not showy, rather, developing the music orchestrally but on the solo instrument, and Wyss played it with intelligence and conviction, and then playing the final joyous, buoyant section with authority and commitment.
The second half was devoted to Shostakovich’s Sixth Symphony of 1938. The first movement is deeply reflective, a serious piece for serious times. By contrast, the second and third movements (a Scherzo, and a fast finale) express an increasing, sparkling joy.
One of the brilliant things about Shostakovich’s Symphonies is the way he can develop his themes by switching from full orchestral sections to several, much more intimate passages with either a solo instrument, for example leader of the Orchestra, Jon Barwell, playing against a simple background, or two or three instruments, like the harp and piccolo towards the end of the second movement. These sections help express the emotional development in the piece, and enable the various instrumentalists to shine, and their lovely, distinctive sonorities to resonate. It was great to see these players in the Orchestra rise to their various challenges, and move us.
The finale in its exhilarating exuberance, electric, almost circus-like, was a challenge to play, no doubt, but successfully realised, and brought the piece and the evening to a flamboyant conclusion.
Anthony Thacker
14th January 2023 - Humphrey Perkins Community Centre, Barrow upon Soar
Charnwood Orchestra Concert Review
The Charnwood Orchestra’s popular “Vienna and Beyond” concert returned to the Humphrey Perkins School in Barrow on 14 January, with Viennese music after the interval, and other popular shorter classics in part one, starting with Borodin’s Prince Igor Overture, a varied and colourful piece, nicely played, in which the brass section was strong. The brass again excelled with the dramatic start to Sibelius’ rousing Finlandia, then wind, strings, and full orchestra – effective, dramatic, and energetically played.
There was a strong contrast next, with Ravel’s achingly beautiful Pavane, his wonderfully sensitive orchestration rendered beautifully. Next came two of Brahms’ most popular, rhythmic Hungarian Dances, played with energy and flourish. The first half concluded with the Dance of the Comedians from Smetana’s The Bartered Bride, which both required and received highly virtuosic playing from the violins – astonishingly fast and accurate.
The second half opened with the Poet and Peasant Overture by von Suppé, beginning with a nice fanfare, then lovely cello solo with harp accompaniment, and later, the first waltz of the evening.
Thereafter, the music all came from the prolific Strauss family. Josef Strauss gave us two pieces, first, his Polka, Ohne Sorgen (‘Without a Care’) – the first of many with fun, audience participation (“Ha! Ha! Ha! Ha!”), and later his Jockey-Polka, complete with cracking whip!
There were no fewer than five pieces by Johann Strauss (the son). First was an atmospheric and evocative Egyptian March – with the audience singing. Then one of Strauss’ most well-known waltzes, Roses from the South, played with polish, strength and precision. Later came his Peasant Polka – with audience singing in harmony – ambitious!
And finally, the three most popular pieces: the timeless Blue Danube waltz, played as if it was a fresh, new piece by the Charnwood Orchestra; the Thunder and Lightning Polka – played with great sparkle and punch; and finally from Johann Strauss, the father, the much-loved Radetzky March with its time-honoured clapping.
Anthony Thacker
26th November 2022 - Emmanuel Church, Loughborough
Charnwood Orchestra Concert Review
It was a night of English music at Emmanuel Church, Loughborough, for the Charnwood Orchestra’s latest concert (26 Nov), starting brightly with one of my favourites: Vaughan Williams’ The Wasps, composed for a production of Aristophanes’ play. Perky, fun, very English, with lovely solo phrases by the oboe with the harp, and by leader of the orchestra Jon Barwell and others.
Bax’s tone poem, Tintagel followed, with its magisterial yet serene start: atmospheric, in turns, moody and moving. The orchestra was fuller than usual with lots of bass clarinet, piccolo, tuba, cor anglais and contrabassoon.
The ballet music of Holst’s Perfect Fool followed, full of drama, lively, with complex 7/8 and other rhythms, all well mastered. The orchestration was even fuller, with lots of extra percussion instruments. This provided dramatic variation, with some sections loud and arresting, contrasting solo passages with viola and cello, and evocative sections with the celeste and harp reminding me of Saturn and Uranus from Holst’s famous Planets Suite.
The second half was given over to a wonderful performance of Elgar’s Violin Concerto – less well known than his Cello Concerto, but one of Elgar’s greatest works – with soloist Tom Bowes, now confirmed as an Honorary Patron of the Orchestra. After the full orchestral start, we had a strong, typically Elgarian theme, played purposefully. Tom Bowes was as brilliant as ever, passionate, yet also tender and sweet as required; virtuosic and brilliant, yet with a yearning quality. A mesmerising performance. In the second movement, its melody with rich harmonies, Tom Bowes realised the wonderful lyricism and subdued passion.
The orchestra played the final movement with strength and purpose, while Tom Bowes provided very atmospheric solos in the middle section, and a purposeful cadenza, all leading to a great conclusion.
Anthony Thacker
24th September 2022 - Holy Trinity Church, Barrow upon Soar
Charnwood Orchestra Concert Review
The Charnwood Orchestra were back, this time in Barrow for their classical concert, beginning with Haydn’s operatic overture, “L’isola disabitata”, which was new to me. A good atmospheric opening, followed by an energetic example of the ‘storm and stress’ – the musical fireworks of the day, in turns elegant and fiery, which the Charnwood Orchestra played with confidence and strength.
Two movements from Schubert’s “Rosamunde” followed, the rightly popular Entr’acte III, warm with great tunes and lovely orchestration, played with great humanity; and the playful, yet purposeful Balletmusik II, its subtle changes in mood, tempo and dynamics all expressed well under the clear and effective conducting of Nic Fallowfield.
Completing the first half was the Trumpet Concerto by Hummel, with three movements, played by soloist Anthony Thompson, who had a lovely tone, expressed in the strong, almost Mozartian opening, and great skill shown in the virtuosic candenza which followed. The second movement gave us the emotional heart of the piece, which though composed in 1803, almost felt like rich, mellifluous film music. The Rondo was a fun, frolicsome finale, which Anthony Thompson played with panache, well supported by the Charnwood Orchestra.
The second half was devoted to Mendelssohn’s ever-popular Symphony No.4, the ‘Italian’. Its opening may have been very familiar, but it was as fresh as ever, played with subtlety and confidence, despite the complexity of the counterpoint. The second movement was thoughtful and purposeful, with its driving bass-line. The third movement, taking the form of a minuet and trio included calling phrases by the ever-reliable horns, with answers by the full orchestra; while the furiously fast finale was played with energy and flickering fire: the string players needed no workout after that! Once again, a great evening.
Anthony Thacker
25th June 2022 - St. James the Greater Church, Leicester
Charnwood Orchestra Concert Review
It was a full programme with seven pieces in each half for the Charnwood Orchestra’s summer concert, “A Night at the Opera”, on 25 June. The orchestra played a wide range of orchestral highlights – overtures, preludes and interludes – starting with Verdi’s ‘Force of Destiny’, and these were interspersed with operatic arias and duets, starting with the ever-popular Habanera from Bizet’s “Carmen”, sung by Elizabeth Ryder on a welcome return to sing with the Charnwood Orchestra.
Later, in singing Donizetti’s aria, ‘Prendi, per me sei libero’, Ryder showed her skills, very expressive, and with a tremendous range. The magical moments were in the operatic duets she shared with baritone Samuel Oram, as both played off against each other, engagingly: in the first half, ‘Là ci darem la mano’ from Mozart’s brilliant “Don Giovanni”; and in the second half, Mascagni’s ‘Oh! Il signore vi manda’ (one of two pieces from his “Cavalleria Rusticana”) the explosively tempestuous duet concluding the concert. Oram also sang two arias, the prologue of Leoncavallo’s “Pagliacci”, sung with conviction, and real presence. But for sheer operatic theatricality, you can’t beat Oram’s flamboyant performance as the eponymous “Barber of Seville”, Figaro: he stole the show!
In between these vocal items, the Orchestra provided a wide range of instrumental delights. These included the well-realized atmospheric prelude to Mussorgsky’s “Khovanshchina”; ‘Siegfried’s Rhine Journey’ from Wagner’s “Götterdämmerung”, the horns and brass providing depth, expression and change of mood; and the Polonaise from Tchaikovsky’s “Eugene Onegin”, a great piece played with conviction and joy. In the second half, the Charnwood played the Overture to Weber’s “Der Freischütz”; Mascagni’s other piece, the Intermezzo, one of the most celebrated and moving interludes, beautifully played; Prokovief’s characteristically wonky March from “The Love for Three Oranges”, brilliantly played; and Delius’ “The Walk to the Paradise Garden”, atmospheric, wistful, almost mesmerising, well captured by the Charnwood Orchestra.
Anthony Thacker
26th March 2022 - Emmanuel Church, Loughborough
Charnwood Orchestra Concert Review
The Charnwood Orchestra returned to Emmanuel Church, Loughborough for its latest concert, on Saturday 26th March, and began with an unprogrammed extra. The international events of the last month, as conductor Nic Fallowfield noted, have left us feeling “powerless”. But we can express our “support, sympathy and solidarity with the people of Ukraine, wherever they are”, which we did by standing, as the orchestra played the Ukrainian national anthem. I have to confess I had never heard this rousing, stirring anthem before, which was well played by the orchestra.
The concert continued more conventionally with Schumann’s Overture ‘Genoveva’, a piece with drama and energy, vigour and purposeful direction, and a triumphant conclusion, robustly played by the Charnwood Orchestra.
The first half concluded with Dvořak’s Violin Concerto in A Minor. The soloist was George Ewart, and the Charnwood were highly fortunate to have him: throughout, he played with an exquisitely beautiful tone, while playing the virtuoso sections with ease – an astonishing performance. Meanwhile, the orchestra rose to the occasion, soloist and orchestra consistently providing great balance.
For the second half, we were treated to Brahms’ Second Symphony, which opened with great warmth and charm, the cellos strong with the recurring theme. The cellos again led the way in the second movement, joined then by woodwind giving evocative depth to the more melancholic themes. The third movement was full of movement and energy, with pizzicato strings under the woodwind theme, its major/minor oscillations, and its accented rhythms, all played confidently and well. And the finale was played with the required urgency: a strong musical statement for full orchestra at full throttle. There were also typically Brahmsian interludes of warmth played on the strings and then with woodwind, and all building up to a rousing conclusion.
Anthony Thacker
27th November 2021 - Emmanuel Church, Loughborough
Charnwood Orchestra Concert Review
After a gap of nearly two years, the Charnwood Orchestra was back with a bounce – a concert completely sold out at Emmanuel Church on 27 November – with three works to treat the audience. First came the ‘Oberon’ Overture by Carl Maria von Weber, a contemporary of Beethoven and Schubert: a satisfying appetizer, opening calmly with the ever-reliable horns, first hushed, then building until the arresting timpani introduced its energetic theme, with tuneful melodies following.
Elgar’s renowned Cello Concerto was next, with local soloist Danushka Edirisinghe transfixing us with a remarkable rendition of this tour de force. The deep, expressive sadness within the piece arose out of Elgar’s feelings after World War I, the painfully expressive opening, its powerful music entering the soul, strongly realised by the Charnwood Orchestra. Ederisinghe played the scherzo with confidence and panache, and the lyrical and powerful adagio, which provides hope despite everything, with great power and depth. The finale, with its wonderful switches between full orchestra and different sections with the soloist, was well realised.
Dvořak’s 8th Symphony completed the concert, a piece which showed the cellos at their best. In the first movement they opened the piece, and in the last they provided the backbone for the whole movement. As the cello opening moves on via the flute playing the first subject, the orchestra brought out Dvořak’s subtle and effective orchestration well, as great melodies unfolded, with a dramatic, gripping and powerful build up.
In the second movement’s imaginative, flickering images, Jon Barwell’s violin solo stood out. While the third movement was a wonderfully orchestrated waltz, it was not just a dance; it was wistful, evocative, reflective. The final movement’s fanfare preceded the most memorable theme on the cellos and violas, with buoyant, vigorous music to follow, reminding us of Dvořak’s popular ‘Slavonic Dances’. A great evening.
Anthony Thacker
November 2019 - Emmanuel Church, Loughborough
Charnwood Orchestra Concert Review
At the heart of the Charnwood Orchestra’s recent concert in Emmanuel Church, was Max Bruch’s renowned Violin Concerto. Conductor Nick Fallowfield ensured great balance between soloist and orchestra, which immediately captured the evocative mood, as the soloist began the lyrical opening theme. Soloist Simon Smith seemed effortless in realising both the piece’s gorgeous lyricism, and its virtuosic candezas. A polished performance, in which the strings, often providing the body of the music, played with effective articulation and intonation.
The other two pieces required an expanded orchestra, to great effect. The concert opened with Dvorak’s Scherzo Capriccioso, a well‐written piece, with playful phrases and imaginative key changes ‐ and a masterclass in orchestral colour, with delicate sections throughout, where various instrumentalists flourish. The opening horn call, the resonant harp, the sparkling piccolo, the wonderfully mellow bass clarinet with answering phrases on the flutes, and the haunting cor anglais ‐ many memorable lyrical lines, all played with great feeling and flair.
The concert closed with Prokofiev’s Symphony No.7 ‐ his final symphony. Nic Fallowfield reminded us that this music has proved influential for much film music since ‐ very instructive. Prokofiev died the same day as Stalin, and the challenge in 1952 was to write great music, despite the dangers. Prokofiev succeeded with a lovely work with sweeping tunes, but also the characteristic flickers of witty key changes that mark all his works.
The orchestra ‐ expanded further with piano, xylophone and glockenspiel ‐ executed the atmospheric opening well, then gave us a waltz (more Ravel than Strauss ‐ part impulsive romp, part improvisatory dance). The Andante provided a restful interlude, with fine contributions on the xylophone. And the finale was classic Prokofiev, with brilliant chordal sequences landing unexpectedly back ’home’, and giving something of a circus feel, before a peaceful resolution. Extended applause showed audience appreciation.
Anthony Thacker
September 2019 - Holy Trinity Church, Barrow upon Soar
Charnwood Orchestra Concert Review
The Charnwood Orchestra’s classical concert in Barrow came early this year ‐ on 14 Sept, with a great selection. Making a strong entry with Beethoven’s Coriolan Overture, they well caught the drama of Beethoven in his prime, both lyrical and energetic.
Schubert followed, with two extracts from his suite from Rosamunde, familiar items of the great songsmith, wonderfully lyrical as we would expect, the Entr’acte played with warmth and authority, and the Balletmusik ‐ folksy, charming and fun ‐ played with grace.
Mozart’s most celebrated horn concerto ‐ his fourth ‐ came next. In the first movement, the Charnwood immediately captured Mozart’s inimitable timbre, and provided a fine balance between orchestra and soloist Richard Lewis, who played with a lovely tone, and great subtlety as needed. He was again assured in the middle movement, a Romanza. The final movement, a Rondo, included the famous galloping theme, which the orchestra and soloist pulled off with great fun and zest.
The final item, after the interval, was Haydn’s last but one symphony (no.103), known as ’the Drum Roll’, because of the evocative drum-roll start (also repeated later), given a great interpretation by timpanist Tim Neal. After this distinctive sound, came Haydn’s characteristic slow introduction, preparing us for the strong, positive main theme, played with grace, charm and energy. The second movement, Andante, provided direct variations on folk melodies, including one with virtuosic solo violin, which leader of the Orchestra, John Barwell, played to distinction. The third movement with its contrasting sections in 3/4 time, provided an elegant Menuet and lilting Trio, robustly played. A horn call opened the Finale, followed by a great violin-based theme, a timeless miracle of music, with energy, strength ‐ and yet also with Haydn’s familiar good humour throughout.
Once again the Charnwood Orchestra under conductor Nic Fallowfield provided the audience with a great evening.
Anthony Thacker
June 2019 - St James the Greater, Leicester
Charnwood Orchestra Concert Review
The Charnwood Orchestra gave us a Russian evening for their summer concert in St James the Greater, Leicester, opening with Tchaikovsky’s Fantasy Overture ’Romeo and Juliet. Very Russian in the opening woodwind start, yet universal, following Shakespeare’s romantic tragedy, and glorious to hear this masterpiece in such a wonderful acoustic venue, where the harp resounded with superb clarity, now with pizzicato strings, now with cor anglais. The audience was well treated with such a fine performance of this well-loved piece.
The other two works were twentieth century pieces. First, Kabalevsy’s Violin Concerto, which was new to me, played with great skill by Bulgarian soloist Zhivko Georgiev. An enjoyable piece, well realised, with a delightful flowing start, both lyrical and energetic, and matched by Georgiev’s lovely tone on the violin. He played the slow movement’s moving theme sensitively, both with the tune, and providing roving accompaniment. And the ’lively joyful’ finale was great fun, with its expanded percussion including xylophones, while Georgiev showed mastery of the virtuosic responses in its antiphonal cadenza.
Finally came one of my all-time favourite pieces, Shostakovich’s Symphony No.5. After Stalin personally castigated Shostakovich’s opera, with sinister threats, this was the piece on which his life literally depended, and he somehow succeeded in appealing to party apparatchiks and true musicians alike, gaining a 40-minute ovation at its premier.
With the extensive percussion, including xylophone, glockenspiel, piano, celeste, various drums and gong, Shostakovich oscillates between dramatic passages with the full orchestra and sensitive passages, where soloists shine. The Charnwood Orchestra captured the urgency at the start of the first movement, but also, in the closing solo violin (with celeste) and again in the second movement against harp and cello, Leader of the Orchestra John Barwell played with exquisitely beautiful expression. The Largo was intense with rich, split strings, and contrast with the harp above shimmering strings; and the finale took us on an emotional journey where the issues are all resolved with a musical ray of sunshine.
Anthony Thacker
Saturday 18th November 2017 - Emmanuel Church, Loughborough
Charnwood Orchestra Concert Review
The Charnwood Orchestra performed a concert of late 19th century Russian music on Saturday 18th November at Emmanuel Church to an enthusiastic audience. This was a very popular programme which began with Alexander Borodin’s Price Igor overture, unfinished at his death and completed by Glazunov.
This and the other pieces required a large ensemble and they produced a really good sound with the strings playing well throughout, the flutes beautifully assured and the French horns warm and well balanced. Thereare some lovely melodies in this piece and the conductor, Nic Fallowfield, was in full control of an excellent performance.
Next we were treated to Tchaikovsky’s piano concerto No 1 in B flat minor with soloist Allan Schiller playing the Steinway. To say it was brisk is something of an understatement, but this orchestra is good and they handled the pace well, the result of a lot of practice I suspect. The well-known opening was powerful and precise amid a cascade of notes from the piano, and in the later stages the wind section was clear and confident.
The second movement is popular on the radio and the wind section again played well, with the brass muted and controlled for a softness of touch. Once again the pace was brisk. The final movement was a triumph for the whole orchestra playing on top form with some excellent softer work. The audience loved it and there were three ovations for the pianist and conductor.
After the interval we heard Alexander Glazunov’s Symphony No 5 in B flat minor, although there are at least four key changes during the piece. This is not a well-known work, but it is a good one, and I doubt it has been played locally in many a year, so it was an excellent choice. The powerful opening by the strings gave way to the woodwind taking up the melody and the impressive horns and timpani making a real contribution in an ensemble piece of considerable beauty.
The lively scherzo followed involving the harp and percussion and a lot of pizzicato, all well played. The slow third movement was worth the ticket money on its own, reminiscent of Tchaikovsky with the wind section in fine form and the strings sweeping through the melodies, for me the performance of the evening.
The final movement was so well played with the balance of the sound perfect, the mark of an excellent conductor. The rousing finish was superb with lots of percussion and timpani and huge chords to end the piece. The audience clearly appreciated the whole concert with warm applause all round.
The orchestra’s next concert, entitled Vienna and Beyond, is on 13th January at Humphrey Perkins Community Centre in Barrow upon Soar.
John Lamb
Saturday 23rd September 2017 - Holy Trinity Church, Barrow upon Soar
Charnwood Orchestra Concert Review
The Charnwood Orchestra performed a most interesting concert last Saturday 23rd September at Holy Trinity Church in Barrow. The programme featured some familiar pieces and some that are rarely heard. The opening Symphony in D by CPE Bach is a really challenging piece for any ensemble, frenetic in places and with some unusual features, but the strings coped well while the oboes brought a warm tone. The bridge into the second movement gave the bassoons and flutes a chance to shine, while the cellos and flutes played really well in the largo. The joyful finale is repeatedly interrupted by a seven note winding question from the strings which they handled well, receiving warm applause from the audience.
The highlight of the evening came next with guest soloist, Timothy Taylorson, featuring in Mozart’s Flute Concerto No. 1 in D. It is rare to hear a flute concerto performed, partly because the repertoire is not large, with many major composers writing nothing for the instrument and several of the pieces coming only through commissions. This commission for Ferdinand Dejean, a doctor and amateur flautist, was rushed through while Mozart was distracted by his enthralment with Aloysia Weber, and yet it remains a wonderful piece of music. The entire orchestra played superbly throughout while the soloist was a joy to hear, particularly in the cadenzas in the first two movements. The conductor, Nic Fallowfield, was in total control, the horns were on top form and the orchestra were just having fun with an outstanding performance.
A couple of extracts from Gluck’s opera Orpheus and Eurydice opened the second half and the orchestra played the harmonies well with the flutes carrying the melodies beautifully. The final piece of the evening was Schubert’s familiar and hugely popular Symphony No. 5 in B flat major. This is almost half an hour of the most wonderful music which the conductor led without a score and with complete assurance. In the opening movement the first violins carried the melodies well, with the cellos and bass supporting powerfully and the woodwind clear and confident, while in the andante the horns and bassoons brought a lovely deep tone. The third movement had some great changes of pace, while the final movement was played faster than any recording I have ever heard, but with good accuracy and enthusiasm. The large audience applauded warmly, several of them having brought cushions. Without one, I had forgotten how church pews can sometimes be as hard and unforgiving as a music critic.
Nic Fallowfield has been the orchestra’s conductor for almost twenty years and is clearly not only very able but also hugely popular with the ensemble, selecting a mixture of popular and challenging pieces. Their next concert on 17th November is at Emmanuel Church where no cushions are required. Details may be found on the orchestra’s website.
John Lamb
Saturday 19th November 2016 - Emmanuel Church, Loughborough
Charnwood Orchestra Concert Review
An enthusiastic audience at Emmanuel Church enjoyed an evening of Scandinavian music played by the Charnwood Orchestra under the baton of Nic Fallowfield. This orchestra produced a warm sound on a cold evening and began with the Norwegian Rhapsody No. 3 by Johan Svendsen, a contemporary of Edvard Grieg. The piece consists of three movements played without a break giving opportunities to all sections of the orchestra. The opening allegro in waltz time brought the excellent oboes, bassoons and flutes to the fore carrying the melody over the sweeping strings. As they moved into the andante, the French horns picked up the lead to be joined by the flutes and clarinets over a cello pizzicato, finishing with the full orchestra giving us a powerful display. The closing allegro was beautifully played with the second violins setting the pace, finishing with a strong performance by the lone timpani who let us know that he meant business.
The concert pianist Robert Markham then joined the orchestra to play the ever popular piano concerto in A minor by Grieg. The opening allegro was played at some pace with all the strings playing well and lovely warmth coming from the excellent cellos. Markham clearly enjoyed playing the Steinway and was note perfect, inspiring the entire ensemble to play with great passion and confidence. He played the adagio with an assured touch while the strings again created a mellow sound using their vibrato to great effect. Almost without a pause they moved into the final allegro, and you could tell that the whole orchestra were really enjoying themselves as the A minor key moved to major for a finish that was as good as you will hear from an amateur orchestra. The audience applauded loudly and the soloist looked relieved.
After the break we heard Symphony No. 5 by Jean Sibelius. This is not an easy piece to play but this orchestra had the confidence to take it on because they were so well led by their conductor. The brass and woodwind led us, perhaps a little quickly, into the opening movement and then the strings took over before the bassoons gave us a wonderfully haunting section. The movement closed with a strong performance by the brass and a tightly played finish. The second movement has a lot of pizzicato for all the strings and this was handled well, particularly in getting the balance right between the different sections of the orchestra. Once again the warmth of their sound came over well in this quite perfect venue. The final movement returns to E flat major key and needs a good conductor to manage the opposing rhythms. It also needs a huge brass sound usually found only in a big orchestra, but the Charnwood Orchestra made it their own and in splendid fashion. As the movement closed with its six enormous chords the timpani player made absolutely sure that we all knew he was there. Great playing and a really enjoyable evening for everyone !
John Lamb
For older reviews from 2009 to 2012, please click here