SEEN AND HEARD INTERNATIONAL

 

Walton: Prelude and Spitfire Fugue (The First of the Few) (1942)

Delius: The Walk to the Paradise Garden (A Village Romeo and Juliet) (1907)
Strauss: Vergnügungszug, op.281 (1864)

Waldteufel: The Skater's Waltz (Les Patineurs), op.183 (1882)
Malcolm Arnold: Overture: Tam O'Shanter, op.51 (1955)
Ron Goodwin: Monte Carlo or Bust (1969)
Humperdinck: Witches Ride (Hänsel & Gretel) (1893)
Vivian Ellis: Coronation Scot (1938)
Sibelius: Lemminkäinen's Return, op.22/4 (1893/1900)
Wagner: Dawn & Siegfried's Rhine Journey (Götterdämmerung) (1876)


This concert was rather like an end of term party where the parents were entertained by their talented children but what made it a special occasion was the amount of English music played. Walton's Prelude and Spitfire Fugue is a work made up of two sections of the music he wrote for the 1942 film, The First of the Few. The Prelude accompanies the opening titles of the film and the fugue covers scenes of the Spitfire aeroplane being built - hence it has to be Prelude and Spitfire Fugue. It makes a splendid eight minute concert piece and, despite a little scrappiness in the strings at the start of the fugue, it helped this evening's concert really take flight. I am afraid that my puns come directly from the example set by the conductor who, when he talks to the audience, displays a liking for poor jokes and puns - we are obviously made for one another. However, when Levon Parikian said that the Walk to the Paradise Garden is about going to the pub – the Paradise Garden is a pub in Delius's opera – I did wonder how many thought this was yet another joke!

 

By the time we got to Strauss's polka, Vergnügungszug, the players had settled down and were in party mood. Armed with a vuvuzela, Parikian essayed the difficult part for train conductor's trumpet with ease, and not a little annoyance! Waldteufel's beautiful Skater's Waltz brought us nicely back to earth. I know that the idea of the show was to demonstrate modes of transport in music, but I do question skating as such.

 

The first highlight of the evening was Malcolm Arnold's marvellous tone painting of Tam O'Shanter, his horse Meg, his drunkenness and pursuit by witches. This was played for all it is worth with great humour and virtuoso playing. For the many in the audience who didn't know the piece, the reel came as a great surprise and created much mirth. There was atmosphere a–plenty at the start and the hectic rush of the chase was well handled. Like Peterloo, played a few nights ago, this is more a tone poem than an overture.

 

Ron Goodwin's Monte Carlo or Bust brought smiles to the faces of Radio 4 listeners when they heard the title music to that radio station's antidote to panel games I'm Sorry I Haven't a Clue, which brought some marvellously raucous playing from the trombones. I question the fact that broom sticks can be considered modes of transport too, but then I expect that they are – for witches. Witches Ride from Humperdinck's Hänsel & Gretel, whilst being very polite, was a delight and made a nice transition into Vivian Ellis's wonderful Coronation Scot. And, by Timothy, it was a jolly good performance.

 

To end, Sibelius's Lemminkäinen's Return – the last movement of the Four Legends, op.22 – which works well within the context of the suite, seemed somewhat thematically challenged and threadbare here. Wagner's travelogue down the Rhine gave the horns their moment in the spotlight – although it must be said that the section had shone all evening – and brought about a suitably heroic and satisfactory end to a very enjoyable show.

 

Bob Briggs