Other Links
Editorial Board
- UK Editors
- Roger Jones and John Quinn
Editors for The Americas - Bruce Hodges and Jonathan Spencer Jones
European Editors - Bettina Mara and Jens F Laurson
Consulting Editor - Bill Kenny
Assistant Webmaster -Stan Metzger
Founder - Len Mullenger
Google Site Search
SEEN AND HEARD UK CONCERT REVIEW
Wagner, Tristan und Isolde, Prelude and Liebestod
Mahler, Rückert-Lieder
Shostakovich, Symphony No.11 'The Year 1905'
'Students stage sit-in at the Cadogan Hall' is not a headline to
match those about the goings-on in London throughout this day
because of the anti-Government demonstrations that were taking
place. Fortunately the Cadogan Hall was not in danger, unlike
dear-old Fortnum and Mason, because this was a peaceful sit-in by
some of University of London's finest, their 80-strong Symphony
Orchestra! Sadly, there were not many more than that in the audience
since their target audience may well have been caught up with the
marches and protests elsewhere … but also there was the strange
scheduling of this concert against the University College Opera's
final night of 'The Three Pintos' (
review) across town.
The ULSO describe themselves 'as one of the leading student
orchestras in the UK. Founded in 1955, ULSO was established to
provide students from the diverse academic backgrounds of the
University of London's component colleges with the opportunity to
play together. The orchestra seeks to provide students with the
unique opportunity to study and perform some of the most challenging
symphonic repertoire to the highest standard, catering both for
those wishing to continue and develop their performance skills
whilst completing degrees in non-musical subjects, as well as
attracting members seeking to pursue careers in professional music'.
Indeed they were generally as fine a student orchestra as I am ever
likely to hear outside the recognised music colleges. The string
section, at times, had unanimity of sound that was as rich,
full-bodied and the equal of many professional ensembles. They were
let down a bit by some individual solo mishaps, particularly towards
the end of an over-long evening, but I will not dwell on any
shortcomings but celebrate their unfeigned commitment and
concentration over the serious music they were playing, as well as,
their obvious talent.
I've liked Daniel Capps on two recent occasions I have seen him with
non-professional orchestras - not for any grand statements about the
music he has conducted - but more for his attention to detail,
sensitive musical insight and a clear technique. I could have done
with a bit more feeling about living, loving, death and eternity
from the Wagner but what more could be expected from musicians with
all their lives ahead of them? The young statuesque Estonian mezzo,
Kai Rüütel, will sing the Rückert-Lieder better in years to
come, as she found the slow tempi of the accompaniment difficult to
cope with at times; however, the songs were still performed with
warmth, dramatic conviction and a pleasing hint of sensuality.
The Shostakovich was an unknown quantity for me and at the
conclusion I was wishing its end. I understand from some background
research that it is what it is - apparently 'a film score without a
film' - and there is very little any interpreter can do with it. Its
scale and emotional range provided the ULSO with a great challenge
that they mostly met head-on. First performed in 1957, it was an
immediate success for the composer and after a preamble about the
influence of the 1905 Russian Revolution and the abortive 1956
Hungarian uprising on Shostakovich, an uncredited programme note
suggested the music 'could therefore carry a more global
significance, evoking all the revolutions that have broken out
across the world'. What prescient concert planning with all the
current political chaos in London and throughout the Middle East!
It was generally a very deliberate account of the score and there
was a palpable air of stillness in the opening Adagio; stillness
that is supposed to evoke the snow-covered streets of St Petersburg
with due starkness. In fact there is a lot of menace in this
movement and throughout the whole four-movement work, played without
a break. The music comes and goes as if we are indeed in the cinema
and Capps and his attentive orchestra squeezed every demonstrative
moment from the score. The beating of the side drum reminded me of
Mahler's 'Resurrection' Symphony and the tramping cellos were
straight from the opening of Die Walküre. Elsewhere all I
could think about was that it sounded like the background music to a
war in space in any of the Star Trek films I have seen. It
all outstayed its welcome as the performance headed into its second
hour and the players were clearly flagging: as gripped as I was
early on, I began to feel sorry for all concerned and I wondered
whether Capps could get them together through the bravura finish.
That he did - all things considered - was mightily impressive.
Jim Pritchard