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SEEN AND HEARD
UK CONCERT REVIEW
Alwyn, Bruch, Rubbra, Mendelssohn:
Nicola Benedetti (violin), Worthing Symphony Orchestra, John
Gibbons, Assembly Hall, Worthing, 8.3.2009 (RA)
William Alwyn:
Suite of Scottish Dances (1946)
Max Bruch:
Violin Concerto No 1 in G minor, op.35
Edmund Rubbra:
A
Tribute (Introduction and Danza alla Fuga), op.56 (1942)
Mendelssohn:
Symphony No 3 in A minor, Scottish, op 56
A
tTriumphant Worthing Symphony Orchestra concert sent many new fans
out of the Assembly Hall vowing to return after Nicola Benedetti
played Bruch’s cherished concerto with, she told the band, “The best
orchestra I have played this work with”.
Like the latest WSO converts, the 21-year-old former BBC Young
Musician of the Year could be back, for she is considering conductor
John Gibbons's proposal to play Brahms's Double Concerto next
season. "It was a lovely audience here," she said afterwards, "and
the acoustic is so great."
Originally intending to play the Beethoven, she switched to the
Bruch No 1 too late to change the posters (though not the preview
publicity). Because of this, there were a few dissatisfied customers
among the 800 present. But only the churlish would have been
disappointed to arrive and find this exciting artiste playing a
concerto they hadn't expected to hear. Here was a Scottish lass in a
programme of nearly all "Scottish" music, and with her Italian
ancestry combined with the Celtic, hair flying, she tore into her
first lengthy theme.
The orchestra sounded magnificent and on fire from the first tutti
onwards — a situation that continued to the end of the concert when,
after Edmund Rubbra's attractive Tribute, to Ralph Vaughan Williams,
came Mendelssohn's excellent Scottish Symphony. And let’s not forget
that conductor John Gibbons gave the orchestra William Alwyn's
entertaining Suite of Scottish Dances as a warm-up. How could
anything so titled not be fun to play?
Benedetti's spontaneity is genuine and her dynamic range is wide.
After her fiercely attacked cadenza and Gibbons's finely judged
decrescendo into the slow movement, with a time-stilling
anticipatory final held note, she entered at a breathtaking hush.
After the passion of this beautiful movement, her final restatement
of the theme was immensely tender, then expansive before subsiding
again into the preparation for the finale. The glorious four horns'
climax of that Adagio will remain in the ears of many listeners, and
the Scottish flavour of the Bruch finale was laid bare by the native
of Ayr, who charmed all by taking her ovations, cheers and whistles
while holding up her long skirt with one hand, her 1712 Earl Spencer
Stradivarius in the other.
Deputy leader Rita French told me she felt Benedetti showed star
quality in moving from morning rehearsal to high-octane afternoon
performance and demonstrating her ability to create and interpret
"in the moment" with real musicality, while remaining easy to follow
for her accompanying orchestra. Benedetti told me afterwards how her
Japanese-devised classical technique, learned from the only
classical teacher for miles around her part of Ayrshire, meant she
would have to play her nation's reels and jigs differently to an
itinerant Scottish fiddler. Having had music in front of her for the
performance, she explained: "I was playing the Bruch for the first
time in a year and there were a couple of places I just needed to
have it there in case. But I only have a problem with my memory
playing the sonata repertoire. All the great concertos just flow."
Apologising for the programme change, Gibbons said he had never done
it before in his 10 years here but sometimes adaptability was
necessary when engaging international soloists.
The Rubbra work sounded unfaded by time and pleased the probable 99
per cent of the audience who had never heard it before. The
Mendelssohn was a showcase for another of many recent occasions when
the WSO has shown its finest colours. The whole orchestra covered
itself in glory.
Famed music film maker Tony Palmer sold his latest DVD, O Thou
Transcendent, about Vaughan Williams (the subject of Rubbra's
Tribute) and donated the profits to Worthing Symphony Society. The
final WSO concert this season, "Effervescence" is on April 5, with
Ian Fountain playing Brahms' second piano concerto and the WSO
giving Smetana's Bartered Bride overture and Dvorak's Symphony No 8.
Richard Amey
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