A large audience assembled in the generous spaces of Kendal Parish Church to enjoy a concert of Russian music performed by the Westmorland Orchestra under the baton of guest conductor Martin Budgett.
I felt that the acoustics were warmer than those in the leisure centre, the usual venue, and this helped the various sections of the orchestra to blend together perfectly and the violins to hold their own against the rest.
The hot weather provided a challenge for the orchestra to keep their instruments tuned, one which they overcame successfully. The pillars made for poor sight-lines for some people, although two large screens were provided in compensation.
The concert opened with Alexander Borodin’s overture for his opera Prince Igor. This was left unfinished at his death in 1887, like many of his works, and was completed by his friend Glazunov, partly from his memory of hearing the piano version. Vigorous conducting and well-executed brass calls and horn and woodwind solos complemented excellent tone from the strings.
Rising star of the concert platform Dominic Degavino was the soloist in Rachmaninoff’s 2nd Piano Concerto, and I cannot remember hearing it played more beautifully. Despite its familiarity, the work is technically very demanding and a real feat of memory.
Rachmaninoff suffered from depression and writer’s block on and off throughout his life, often brought on by scathing (and unjustified) critical reviews. His second piano concerto, finished in 1901, was an unqualified success, however, and has remained popular ever since.
From the portentous opening chords we knew we were in for a real treat of virtuosity, coupled with sensitive and emotional melodic lines. The orchestra blended well with the piano, only dominating once or twice, and providing clear woodwind solos on the (rare) occasions when the piano was silent.
The sublime second movement was very moving and the brilliant finale was an exhilarating conclusion to a totally mesmerising performance, loudly acclaimed by audience and orchestra alike.
After such a feast of music, the second half, consisting of Tchaikovsky’s 2nd Symphony, could have been something of an anti-climax, but Martin Budgett drew excellent and exciting playing from the orchestra, who clearly like working with him.
Tchaikovsky was already a popular composer when he wrote his second symphony, in which he aimed to introduce folk tunes into the symphonic structure, but with limited success, which caused him to revise the work significantly. Some of the melodies are from Ukraine (then known as Little Russia), where Tchaikovsky spent his summers, and the symphony at one time was nicknamed the ‘Ukrainian’ rather than its usual name of ‘Little Russian’.
The players carried off the demanding opening horn and bassoon solos perfectly, with powerful string tone subsequently. The complex rhythms and repeats in the third movement were crisp, with fine woodwind playing; the finale begins with a chorale followed by a folk tune which is elaborated and then followed by a lyrical second subject in the violins.
One of Tchaikovsky’s characteristically exciting endings including timpani, cymbals, bass drum and tamtam was a fitting conclusion to a very fine concert.
REVIEW: Phil Johnstone
