Download Read a review by Philip Worth

Dacorum Symphony Orchestra
13th March 2016
The Rudolf Steiner School, Kings Langley
It cannot happen often that an orchestral suite is performed more frequently than the opera
on which it is based, but it is possible that this has been the case with the Carmen Suite.
Using melodies from Bizet’s fabulously popular masterpiece it has become a favourite
concert piece in its own right. After a shaky start Carmen became the world’s most
frequently performed opera, exciting millions with its drama and enchanting melodies. The
work was probably the summit of Bizet’s artistic achievement so that his death soon after
the premiere at the age of 36 was tragic indeed and a sore loss to music. We owe the Suite
to Bizet’s friend and colleague Earnest Giraud, himself a notable contemporary musician.
You can’t do better than to use the music of Hector Berlioz at an early point in a well
-balanced concert programme and The Hungarian March from The Damnation of Faust
supports this view. Uncompromising in his music as well as in his character Berlioz favoured
the big sound, preferably produced by a big ensemble (on one occasion he assembled an
orchestra and choir consisting of 1000 musicians!) But the phrase ‘Big Sound’ should not be
taken literally; the composer’s unique powers of orchestration and melodic invention were
such as to impress and influence some of the great names of the 19 th century e.g. Wagner,
Rimsky Korsakov, Liszt, Richard Strauss, Mahler to mention but a few. No wonder that
Berlioz is often referred to as the ‘founding father’ of the whole Romantic Movement; not
bad for a self-taught musician whose instruments were the flute and the guitar!
Many might not consider the trombone to be a typical solo instrument in the realm
of classical music (although we must recognize its significance in the jazz and big band
spheres – what of the late, great Glenn Miller? And what also of the brass band, come to
that?) So we welcome with open arms a Concerto for Trombone by the celebrated Russian
composer Rimsky Korsakov. A dedicated artist who loved his music, for him no theme was
too trivial (instance The Flight of the Bumble Bee) no instrument too modest (yes, instance
the trombone) but that he should give them his whole-hearted creative attention as he did
for his major works, e.g. Sheherazade, opera Sadko etc. And so Lewis Rowlands’
performance of the Concerto for Trombone was full of delights:- an ebullient Allegro Vivace,
a poignant Andante Cantabile, and a briskly marching Allegretto. Great music! Great fun!
-------------Straight after the interval the mood changed. Earlier we had Rimsky Korsakov at his
most extrovert; now we met Tchaikovsky at his most introvert, plumbing the depths of his
passionate and tormented soul. His Serenade for Strings gave expression to these emotions,
but with what sublime artistry, what glorious flow of melody, what unfailing musicianship in
his handling of the string ensemble. The DSO took us happily from the heart-rending feeling
of the first movement to the charm of the elegant waltz. Not surprisingly this work was one
of the composer’s own favourites – pure genius!
Echoing a time-honoured tradition on the last night of the Proms Elgar’s Pomp and
Circumstance March no. 1 closed the proceedings of this excellent family concert, played
with great enthusiasm by Tom Loten and his Dacorum Symphony Orchestra. The first March
was composed in 1901 when the British Empire was at the height of its power and prestige,
lighting a patriotic fire in every bosom. Some critics find the words attached to the great
trio melody ‘Land of Hope and Glory……etc.’ crudely jingoistic, taking particular exception to
the line ‘wider still and wider shall thy bounds be set’ but there is every geographical
justification for this sentiment as Britain’s colonies were spread all round the globe
separated from the mother country, for the most part, by vast oceans.
For the equally upbeat March no. 4 Tom Loten invited the children in the audience
to join orchestra members on the concert platform. They did so in impressive numbers
remaining (unusually?) still and silent while the music was being played. Future
instrumentalists? Or future patriots? Or both? Time will tell.