Dvořák wrote some highly colourful symphonic poems, which graphically illustrate rather grisly stories. The Mendelssohn concerto is rightfully one of the most loved of all concertos. The symphony opens dramatically with a foreboding ‘fate’ motif which leads us through gloom, melancholy and recovery to a joyous finale based on Russian folksong.
Strauss Duett-Concertino soloists – Massimo Roman (clarinet) & Stephen Fuller (bassoon)
BrucknerSymphony No. 7
Schubert wrote much charming, tuneful music in his short life and this overture shows both these qualities. Strauss’s solo clarinet masquerades as a princess and the bassoon as a bear who turns into a prince when they dance together. Bruckner’s symphonies are like magnificent cathedrals in splendour, the famous slow movement of the Seventh being a glorious tribute to his idol, Wagner.
Delius(ed A Summers) The Walk to the Paradise Garden
Bloch ‘Schelomo‘ – Hebraic Rhapsody solo cello – Alice McVeigh
ElgarSymphony No. 2
The season opens with Delius’s seductive and melodious ‘Walk’, a perennial concert hall favourite. In ‘Schelomo’, Bloch personifies the cello as the reincarnated voice of King Solomon, giving the virtuoso soloist a magnificent emotional range. Our symphony celebrates the 150th birthday of arguably this country’s greatest composer with his wonderful evocation of Edwardian England.
This work is a major landmark in the musical world. Its first performance in 1913 caused a riot, but it has now taken its rightful place as a staple part of the symphony orchestra repertoire.
It would be very difficult to include Stravinsky’s ballet masterpiece in our formal concert series, as the stage area will not accommodate the forces required (including quintuple woodwind, eight horns, five trumpets, two timpani players etc). We took the opportunity to work on it with our conductor Adrian Brown on Sunday 10th June.
We rehearsed over several sessions during the day, and the final session was open to the public. Adrian introduced the work at 5.30pm, followed by an informal performance at about 6pm(ending around 6.30). The hall was set up “in the round” to enable us to accommodate the resources required and to allow the audience to get up close to the action!
The session was free, but donations were welcome; no tickets were issued.
Leoncavallo I Pagliacci – Prologue soloist: Edward Grint
Wagner Ride of the Valkyries & Die Walküre Act 3 extracts soloists: Christine Teare and Sir Donald McIntyre
This concert depicts storms – of emotions in Leoncavallo’s tragedy; of the elements pictured by Berlioz around the troubled romance of Dido and Aeneas; of domestic intrigue and upheaval in Figaro; and of the passions of Wagner’s Gods and warrior-maidens. But it also portrays the calm of emotion spent. A spectacular conclusion to our musical season.
Beethoven portrays a heroic struggle for freedom from Spanish religious oppression in the Netherlands. Bliss lived through the upheavals of world wars, holding fast to his optimism. Brahms took up the challenge of Beethoven, in a symphony of titanic conflict, resolved in a blaze of light.
Bromley Symphony Orchestra gratefully acknowledges the financial support of The Bliss Trust for this performance of the Bliss Violin concerto. Fans of the composer may also be interested in the activities of the Bliss Society.
Rachmaninov’s great symphony has a gloriously rich sound of broad tunes, with passionate declamation. Wagner’s early opera celebrated the life of 14th century Roman populist leader Rienzi on the grandest scale. By contrast, Haydn offers a joyful and radiant concerto.
Mozart Piano Concerto No. 23 K488 soloist: Tracey Renwick
Shostakovich Symphony No. 10
Shostakovich’s symphony was in part a public reaction to Stalin’s death, and in other ways an enigmatic and private work entwining personal mottos from an emotional relationship. Its dramatic power is complemented by Strauss’s brilliant tone-poem, and the sublime intimate melodies of Mozart’s concerto.
Why does some music gain universal popularity and fame? Great tunes, freshness, vitality, romance, drama – all are shown in this concert. Grieg’s spirited portrayal of the adventures of ‘Peer Gynt’ is among the most played orchestral music. Mozart’s humour and high spirits in a showpiece for the French horn has immediate appeal. And on every hearing, the revolutionary drama of Beethoven ‘Eroica’ strikes the listener anew with the shock of a journey from tragedy to triumph.
The idea of this very colourful orchestration of Bach’s great organ work came from a meeting between Elgar and Richard Strauss. After the death of his wife in 1920, many believed that Elgar’s inspiration had faded. However, reviewing the sketches for Elgar’s unfinished last symphony, Anthony Payne found the music ‘leapt from the page’ for his acclaimed and deeply satisfying completion which he will be introducing at this concert. We celebrate Payne’s own 70th birthday with a performance of his serene work, which was inspired by Delius’s ‘In a Summer Garden’.