SEEN AND HEARD INTERNATIONAL

 

Shostakovich: Symphony 9 in E♭, op.70 (1945)
Launy Grøndahl: Trombone Concerto (1924)
Malcolm Arnold: Symphony 8, op.124 (1978)

Malcolm Arnold wrote his 8^th Symphony at a time of great personal crisis, and it contains the frightening, almost overpowering, feel of its predecessor with intimations of the soul searching which permeates much of the 9^th Symphony. This was only the fourth performance of this work given in London, all of them by non- professional orchestras, and it made an overhwelming impression on a packed house. Matthew Taylor drew the best from his players and they delivered the music without pulling any punches – this was music making in the raw, with huge climaxes and the most delicate moments of reflexion. The first movement incorporates a sweetly sung "Irish" tune, from his score for the film The Reckoning (1969 – director Jack Gold), the only time Arnold used a film cue in a concert work. In the film, a successful businessman returns to his home town due to the death of his father. He discovers his own Irish roots and has to take revenge of some Anglo–Saxon Teddy Boys for his father's murder. Arnold tries very hard to kill his innocent tune, but it always emerges with the same light gait, unperturbed by anything done to it. Arnold was living in Ireland at the time of composition and one wonders just how much the "Irish" tune is meant to represent him and the destructive forces of his disillusionment with the work and his life? Whatever the reason for its inclusion in the symphony, the tune makes for a satisfactory symphonic second theme. This first movement is a great symphonic achievement and it was a stroke of genius that the ensuing two movements are easier to listen to, but no less complex in their design. This Great Symphony by a Great Composer received a performance of greatness. Bravo to all concerned.

 

By comparison, the rest of the programme seemed small beer. Shostakovich's 9^th Symphony made a suitably light opener. Taylor made the most of the introspective slow movement and the mock–heroic bassoon lament, but it is the three fast movements which made the most impression with their circus–like raciness.

 

The poor trombonist doesn't have a vast repertoire to draw on when it comes to Concerto engagements. Launy Grøndahl's Trombone Concerto is, I am sure, a good piece to play but, apart from a rather lovely slow movement, it doesn't have much to recommend it musically. Both Gordon Jacob and Nino Rota wrote better Concerti, not to mention Frank Martin's Ballade, and I would have welcomed one of these works in place of what we were offered. Miguel Tantos played well, but we weren't allowed to hear what he could really do, for the work wasn't able to deliver the musical goods for that purpose.

 

In the long run, this was Malcolm Arnold's night and whatever was in the concert was purely makeweight for his magnificent Symphony. It was good to see a full house – extra seats had to be put out at the start – and a full house predominantly made up of young people.

 

Bob Briggs