Rich and Powerful Tone with Impeccable Technique

The Orchestra gave us another fine concert on Saturday, November 1 in Kendal Parish Church. This was a concert in two distinct halves, each with its own character: the two classical early symphonies by Mozart and Schubert before the interval complemented each other and offered a welcome contrast to Tchaikovsky’s romantic Violin Concerto in the second half of the programme.

            Conductor Wynn Davies set a good tempo for Mozart’s Symphony No. 25. in G minor. There were some balance problems in the performance, perhaps due to the acoustic properties of the Parish Church, and Mozart’s high horn parts challenged the players at times. Mozart wrote for four horns in this symphony. Their main function is to add strength to chordal passages, or play a subsidiary role sustaining chords over a period of several bars.  However, in the Trio section of the Menuetto of the Symphony they play a more prominent melodic role combining with the oboes who should be more prominent. Sitting on the side of the church where the horns were placed, this is not what we heard. However, the performance had vitality; it was rhythmically strong and the tempestuous nature of the piece came over well. The quality of the playing showed up the strength of both string and wind sections with some lovely solo playing in both the Mozart, and also the Schubert Symphony. It was a delight to hear this youthful Schubert work, full of melodic charm and so well written for an orchestra – an amazing achievement when one considers that the composer was only 18 years old when he wrote it.

            Soloist Bradley Creswick gave us a superb performance of Tchaikovsky’s ever popular Violin Concerto. His technique is, of course, impeccable as one would expect from such an experienced performer who has had such a distinguished career as an orchestral leader and now as a soloist and chamber music player. His tone was rich and powerful and carried to the back of the church; the orchestra offering just the right degree of support, capturing the changing moods of the work effectively. Wyn Davies of course played a pivotal role in guiding soloist and orchestra through the work. Such was the success of the performance it gained a standing ovation and an encore, Elgar’s lovely Chanson de Matin, again so sensitively played by Bradley.

                                                                                                                                    Clive Walkley