As part of the RNCM's 50th birthday celebrations, a special concert featuring the renowned Wind Orchestra of the Royal Northern College of Music. This is not a wind band or similar, but in fact, the wind orchestra has the same instrumentation as a standard symphony orchestra minus the string section. Of course, the single double bass player is also with us, as is, on this occasion, a piano and a harp. Over the years the RNCM have commissioned many composers to write works for this configuration, and this evening we were to hear just a few of those, whilst the orchestra itself was made up from not just current students, but also members of staff and alumni.
The audience too was full of those who have ha d along and happy connection with the school, or those who performed in the premier performances of the pieces being played. I imagine it would have been quite an emotional event for many this evening.
As has now become a familiar convention with public concerts at the RNCM, where possible, the ensemble will feature a current student composition, and this evening was no exception to this. The concert started with the world premiere performance of Willie Chester's fanfare, 'To Be Continued'. This was followed by my personal favourite piece of the first half, and my overall second favourite of the concert. It was 'Gallimaufry' by Guy Woolfenden. Our conductor for this piece was 85-year old 'legend' Timothy Reynish, and he exercised superb control over the players this evening, showing no signs of slowing! A very dramatic slow crescendo opens this work, which broadens out into a full rhythmic onslaught, which features a military march within there too. A truly interesting and delightfully surprising piece.
This was followed by Jennifer Higdon's 'Aspire', which was receiving its UK premiere performance this evening; which served as an ideal transition piece between the Woolfenden and the piece which was to follow and close the first half of this evening's concert, Luis Serrano Alarcon's Cello Concerto. Using a much reduced wind section, this piece was a tour-de-force for this evening's cello soloist, Mikhail Nemtsov. The piece takes us through many different styles and melody fragments, as the work is rather fragmented and seems to be a little like a 'stream-of-consciousness' work. Parts resemble Shostakovich, whilst others are more reminiscent of Lord Berners, and there is much to unravel in between. However Nemtsov did not let any of this faze him and his mastery of the cello was unquestionable and impressive. For a short encore, Nemtsov chose a short piece of J S Bach, and he spoke a little beforehand. His sincerity and humility was inspiring, as he apologised for being Russian, and hoped that the Ukraine conflict would soon end with those responsible being brought to justice.
The second half of the concert contained just two works, both substantial and hearty. First was Richard Rodney Bennett's 'Morning Music', I have to admit to not knowing a vast amount of his works, but those I was aware of have been more tonal, harmonic, and melodious than this particular work was, and it came as a surprise to me. It was played with great skill, with a sense of fun, under the baton of Clark Rundell.
The final piece of the concert however turned out to be my favourite, and was a work I had no prior knowledge of. This was Nicholas Maw's 'American Games', which is a series of seven smaller movements played continuously. It was very film-score-esque, and I imagined an Indian Jones type character going through the gamut of emotions from daring escapades, to rescuing a maiden in distress, to romance, to a wedding (a hymn), to fighting battles and being crowned victorious. Full of aural imagery and a thrilling and fulfilling listen.
A fabulous concert which I am sure will be remembered for many years to come by those who are more closely connected to both the pieces and the RNCM than myself.
Reviewer - Matthew Dougall
on - 29.6.23
on - 29.6.23
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