SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK CONCERT

Elgar, Leo Brouwer, Stanley Myers, Albeniz and Dvořák: John Williams (guitar), English Chamber Orchestra, Paul Watkins, Cadogan Hall, London, 3.3.2010 (BBr)

 

Elgar: Introduction and Allegro, op.47 (1904)

Leo Brouwer: Concierto de Volos (Guitar Concerto No.6) (1996) (London première)

Stanley Myers: Cavatina (1970)

Albeniz: Asturias, op.47/5 (1886) (arranged for guitar by John Williams)

Dvořák: Serenade in E, op.22 (1875)


Belying his 68 years, John Williams positively bounded on to the stage this evening to entertain us, and he certainly did that. With the well known twinkle in his eye, and smile on his face, he introduced the Leo Brouwer to the audience, “for those of you wh haven’t got a programme” then sat and played. He was very discretely amplified and it wasn’t a distraction at any time, as it so often can be with this modest voiced instrument. Brouwer’s 6^th (of, so far, 11) Guitar Concerto was written for Greek guitarist Costas Cotsiolis and it is full of the dance, both slow and fast, in two sections, but three named movements. There is a strong melodic appeal to this music and Brouwer works his way through his material, getting the most from it, and using it in every way possible. The atmospheric music is particularly impressive but there is a fast section, about 6 minutes from the start, which is of lesser stature and, truth to tell, is somewhat banal. However, this is a small blemish on an otherwsie fine work. Brouwer uses the string orchestra mainly for colouristic effect, there’s lots of quiet, sustained, chords, harmonics, then, at the opposite end of the spectrum, fast movement, Bartok pizzicati, but best of all, the soloist is never covered by the orchestra. This is a very attractive work and it’s appalling that it has taken 14 years for it to reach London. I want to hear it again.

After the interval, as a kind of late encore, Williams gave two of his most famous solo pieces - the beautiful Cavatina by Stanley Myers (shorn, thank goodness, of the banal words which were written for it) and Albeniz’s evocative Asturias. Both were a delight. It’s good to know that John Williams has lost none of his charm and ability to readily communicate with an audience.

The rest of the show displayed the abilities of the strings of the English Chamber Orchestra to particularly good effect. Watkins is still a young man so I cannot blame him for not allowing the great Introduction and Allegro to breathe fully and slightly rushing through it. In time his interpretation will mature and he’ll allow for the give and take so necessary in this piece. No such problems with Dvořák’s delectible String Serenade, which was positively joyous and full of smiling good humour, and it brought the show to a most happy conclusion.

 

Bob Briggs