The NCO continues it’s 52nd season this evening with a programme of orchestral music with solo cello at the Stoller Hall, Manchester.
The opening piece was Holst’s St. Paul’s Suite. Holst wrote this for the school of St. Paul’s string orchestra. The lively first moment, based on a jig, alternates between 6/8 and 9/8 time signatures giving a jaunty dance lilt. The NCO string orchestra took a daring pace which simply brought a magic in this movement as it accelerated to the sudden end. No detail was lost at this fast pace, as the NCO is made up of extremely accomplished musicians who could handle the speed. From this first moment, to the very end of the concert, it was obvious that the NCO musicians clearly enjoy performing together – smiles abounded at every desk. The NCO is a conductorless orchestra, led by the leader, and artistic director, Nicholas Ward on first violin. Somehow, this lack of conductor allows the orchestra to really shine – perhaps the onus of collective responsibility makes for greater individual effort. The second movement, with its scurrilous four note ostinato on second violins was delightful – the clarity of this line, played over and over again, was never lost and the wonderful acoustics of the Stoller Hall – which itself is another member of the orchestra in my opinion – allowed the different layers of this piece to stand out beautifully, transforming the music into three dimensional sound. The third movement, with a violin solo by Nicholas Ward, was very touching with great dynamic detail. With it’s modal melodies sometimes reminiscent of the middle east, contrasting pizzicato accompaniment and final quartet of soloists, a lot happens in this movement and the NCO kept the audience thoroughly engaged. The final movement, The Dargason – a country dance from English folk traditions - was a lively and energetic performance which again the NCO fully brought to life as the musicians practically danced around with the music and driving rhythms. Holst is a master of melody in that we hear again and again, in all four movements, principal themes but there is so much transformation around the melody that it is a thoroughly exciting suite of music. The melody of greensleeves is transformed and added to this final section, pushing the Dargason to become an ostinato. The final violin solo flourish was played with brilliance by Ward bringing this opening piece to a joyous end. There were many smiles throughout the audience and on stage during this wonderful piece.
A change in programming by cellist Raphael Wallfisch, who is also president of the NCO, swapped the second and third items of the programme with each other. So, the UK premiere of Mieczyslaw Weinberg’s Cello Concertino was next. Ward explained to the audience that Weinberg had escaped Nazi Germany and ended up in Russia. His family were not so lucky, and even then, in Russia, Weinberg came close to death under Stalin’s brutal crack down on ‘unpatriotic’ arts. If it were not for an intervention from his friend and contemporary, Shostakovich, and the unexpected death of Stalin, Weinberg himself would more than likely have been murdered by the regime. Weinberg wrote his cello concerto in 1948 and subsequently fashioned a reduced version of this, creating the Cello Concertino Op. 43b. This was not published until very recently – 2017 – and Wallfisch took the decision to perform this version of the concerto tonight making it the UK premiere of this piece. Ward told us that some found this version to be more intimate and touching than the full concerto and indeed this version is dominated by the cello which is primary focus for the vast majority of the entire piece. It is more typical for the soloist to have breaks in a concerto, allowing for contrast and interplay between the solo and full orchestral texture. From the start, Wallfisch commanded this demanding piece with ease. Again, the fantastic acoustic of the Stoller Hall allowed the magic of this performance to fill the air. At times, it felt like the very notes had a physical, spatial presence. There are many challenging techniques for the soloist, including some very delicate dynamic markings. The orchestra, with woodwind and brass added for this piece, were the perfect companion for Wallfisch’s showcase performance. Humour and pathos were both present, with the habanera rhythm of the second movement and a folk-like scherzo with extended call and response sections eventually leading to the famous cadenza in the final movement. Wallfisch was able to not only execute the challenges of this piece with an incredible precision, he also was able to phrase them beautifully, transforming some of the more abstract passages – the cadenza in particular - in to a meaningful and touching soliloquy.
It strikes me that, as is often the case, a soloist will walk on stage and perform without saying a single word to the audience, yet with an intense communication. Wallfisch is intriguing to watch as he performs – he very obviously anticipates and relishes his mastery of the challenges each piece throws at him. This was certainly true for the third piece of the evening, Tchaikovsky’s Variations On A Rococo Theme, Op. 33. To an extent, Tchaikovsky was a composer writing in the wrong era. He adored Mozart and took it as the utmost of compliments when his music was ever compared to that of Mozart, and indeed this piece of music has an obvious classical element, with grandeur, grace and balance. Nevertheless, this music is unequivocally Romantic in nature – Tchaikovsky brings Mozart to the late 19th century and does not simply hark back to the past. The theme was introduced sweetly by Wallfisch, adding both playfulness and poignancy from the start in both the melodic contour and the light accompaniment in the orchestra. The wonderful woodwind section in the theme was played delightfully by the NCO, giving a hint of Mozart. The subsequent eight variations were performed by Wallfisch with the expected finesse. He brought out many moments in this piece that may have simply been passed over by any other soloist. Wallfisch is a masterful storyteller that really touches the audience with his playing. Wallfisch chose the original version of Tchaikovsky’s composition which is performed less frequently. Tchaikovsky worked closely with cellist Wilhelm Fitzenhagen whose influence produced the more popular amended version. Both versions demand an almost constant virtuosic performance which Wallfisch mastered with a stunning vibrancy. I would wager that he chose to play this piece after the Weinberg as it was, without wanting to belittle the Weinberg, more impressive and demanding.
I am not a huge fan of Schubert’s orchestral works but I would say that if I were ever to want to hear a symphony or concerto by him, I would choose to hear it performed by the Northern Chamber Orchestra and I was not disappointed this evening. His fifth Symphony, written in 1816 when Schubert was merely eighteen years old, is an impressive piece of music with a distinctive opening melody. Ward led the NCO for this performance driving the 'sturm und drang' theatricals which permeate this piece. Schubert scored this for lighter forces than his previous works, but there was no such lightness as the music unfolded – each section of the orchestra had many moments to play out. The orchestra were a delight to watch and hear as the interplay between sections unfolded.. This evening’s performance was being broadcast live to various care homes. Although the NCO has worked with schools and care homes in the past, this was the first time that they had broadcast an event in such a manner. While I am sure those watching were treated to a stunning performance, it really must be said that the NCO is a truly wonderful orchestra that really transforms the music they perform that must be heard live.
This was, as always, a truly magical evening of music with a well considered selection of pieces.
on - 8/11/19
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