Past Concerts
12th November 2011, Todmorden Town Hall
Rivers and Remembrance framed Saturday's packed concert. Smetana's Ma Vlast is a patriotic, poetic and testing celebration of the river that is to Prague what the Thames is to London. The music rises in mellifluously swirling, intricate eddies. It's an unforgiving piece with which to warm up a concert and Concannon Hodges took it quickly. In loud sections details became opaque which in part is down to the reverberant acoustic.
Armenian composer Arutiunian's testing trumpet concerto was played by Brian McGinley. This had first been intended for a soloist who was killed during World War 2. Some of the climactic orchestral writing in the first movement has tremendous symphonic weight. At one point McGinley's invincible brilliance had to compete with it to be heard over the Shostakovich-style heroics. The middle movement was a beguiling Central-Asian fusion of Blues and Borodin.
After this came Ballet suite 4 by Arutiunian's teacher Shostakovich: This three movement light-hearted suite is drawn from the ballets and film scores. The first of these is The Limpid Stream - rivers again. The middle movement starts with Tchaikovskian balletic delicacy and rises to a rousingly big noise.
After the interval the 57 strong orchestra turned to a composer they have championed before. In June 2009 they gave an excellent reading of Vaughan Williams' Fifth Symphony. A London Symphony was dedicated to the composer George Butterworth killed by a sniper on the Western Front in 1916. It opens with the merest murmur and rises to a thunderous whirlwind. By no means picture-postcard stuff the music is often sinister, murderous and infernal rather in the manner of Peter Ackroyd's London and Sondheim's Sweeney Todd. The 12-strong brass were exemplary in phalanx as well as individually and by section just as the Todmorden catchment has come to expect. The magically hushed backdrop for the deeply moving cor anglais in the second movement and the brief duo between the leader and harpist at the end of the first were sensitively done. It's a work shot through with tragic march episodes: bloodied but unbowed. The extended silence after the epilogue before the first burst of applause was eloquent. If the quiet moments were laced with distant bells from St Mary's it remains an indelibly memorable evening especially for a remarkably fine performance of the Vaughan Williams.
Rob Barnett
November 2011
June 25th 2011, Todmorden Town Hall
A delightful programme for a summer evening was given at the Town Hall by the Todmorden Orchestra, conductor Nicholas Concannon Hodges, Todmorden Choral Society, conductor Anthony Brannick, and soloists Thérèse Vincent, soprano, and Gary Martin, baritone.
As it's not possible to do justice to every item, I have chosen some of the highlights:
Thérèse Wincent's lyrical "Russalka" sensitively echoed, in parts, by the flute and clarinet, "La Traviata" the singing beautifully capturing Violetta's conflicting emotions, also effortlessly sailing through coloratura passages. Lehar's "Meine lippen, sie kussen so heisse" was deliciously and playfully beguiling. Ms Vincent sang with lovely warmth and sweet tone, very expressive of the different characters' feelings.
Gary Martin's rich voice, dynamic range and sensitivity, took us by storm from the first note to the last: the agile "Figaro" with his wit and dash, the proud "Toreador" sweeping all before him, and the beguiling "Don Giovanni" contrasted greatly with his "Germont" conveying warmth and kindness, yet inflexible strength of the father towards his son, protecting his "best interests". Having such a magnificent opera singer in our town hall was almost unbelievable!
The Orchestra, opening in fine style, with Wagner's "Meistersingers' Prelude", played throughout the evening, also supporting soloists and choir. This included some fine solos from cor anglais in Russalka, trumpet in Aida's "Grand March" and bassoon in "La ci darem la mano". The Polonaise from "Eugene Onegin" was full of verve and panache with woodwinds tripping in cheerful harmony in contrast to the warmly lyrical cello section playing as one! and the Barcarolle from "Tales of Hoffmann" with its lovely unison string playing so pleasantly soothing in contrast to the fiery Toreador.
"The Polotsvian Dances" with lovely clarinet flute and oboe solos, wild dance, then the much loved "stranger in paradise" melody, beautifully sung by the choir, the underlying quietly galloping pulse blossoming into full orchestra with rich brass and percussion ensemble, the cross rhythms, and full throated choir, was a truly wonderful finale.
Then as if that were not enough, an encore: a duet from the "Merry Widow": The image of that charming couple singing and dancing together so gracefully and harmoniously was the "icing on the cake"!
What a feast: our own orchestra and choral society pulling out all their stops and two superb opera singers utterly delighting us. This was one of the most enjoyable summer concerts we have had.
Katherine Adler
June 2011
March 19th 2011, Todmorden Town Hall
You can listen to a recording any time, but it can't replicate the experience of a live performance. This was what a packed Town Hall was treated to by Todmorden Orchestra under their conductor Nicholas Concannon Hodges and leader Andrew Rostron on Saturday evening. We watched the fiddlers' bows fly, we felt as much as heard the heavy brass, and we had the privilege of listening to some fifty amateur musicians playing for pleasure.
The evening started with Shubert's Rosamunde Overture. In the introductory bars the principal wind players set the scene with beautiful tone and spot-on tuning. The orchestra made good use of varied dynamics, and the brass were rich and well-balanced.
Mozart may not have written much for flute but it was not for want of ability. His concerto for flute and harp allows both these instruments to show off their best features and our soloists in it this evening, Charlotte Walls and Louise Thomson, were a delight.
Charlotte's tone was silvery whether she was trilling on the flute's high notes or languishing in the lower register, whilst Louise let the harp ring out in its trademark arpeggios from bass notes to tinkling top strings. The orchestra produced a good Mozart sound and supported the soloists well without ever swamping them.
The shifting sand that is Brahms' First Symphony with its constantly changing sky of sunshine and dark clouds and an ever-present sense of unease is no easy terrain but the orchestra succeeded in navigating a sure course through it despite the odd danger moment. Light and dark were well painted in the shifts in dynamic and from major to minor, sometimes within the space of a bar. The violins were particularly sweet in the second movement, and in the third the trumpet rang out like a clarion.
In the final movement it was the cellos' turn to set the ominous tone with a well-measured pizzicato passage. Then out of this rose the first horn's beautifully played solo. The closing tutti passage was a triumph of ensemble playing.
Heather Spencer
March 2011
November 13th 2010, Todmorden Town Hall
On an evening when the world had received news of the release from house arrest of the Burmese opposition leader Ang san su chi, a full audience was present at Todmorden Town Hall to hear a performance by Todmorden Orchestra under the direction of Nicholas Concannon Hodges of music by two composers who had demonstrated how their music could harness and encourage nationalist feelings in the 19th century.
The concert opened with perhaps the most famous of all nationalist outpourings - Finlandia by Sibelius. From its first performance it achieved a rousing reception and there was appreciative applause from the audience too on this occasion.
The dark and brooding opening with menacing chords form the brass was well played and as the pace picked up the fanfares from the trumpets were particularly well focussed. When the main hymn-like theme emerged, tranquil and soothing, there was good ensemble work from first the woodwind and then the strings, with careful phrasing.
Extensive use of the timpani througout the piece clearly portrayed the stirrings of feeling so well received by those first audiences in what was then a part of Russia. One was left though with a feeling of understatement on this occasion, the passion of those feelings somehow not quite coming through.
The solo item in the programme was the Cello concerto by Dvorak, played by Stephanie Oade. Here we were treated to a committed performance from the soloist.
Dvorak's importance as a nationalist composer is noteworthy as his music captures the character of the people and the countryside of middle Europe with its forests and rivers. The lengthy opening, during which the strings were sometimes overwhelmed by the brass, was followed by a virile and vigorous first entry from the soloist.
The cello as a solo instrument with orchestra carries with it difficulties in terms of balance. It has a wide musical range not all of which can be heard over a full orchestra - hence Dvorak's known reluctance to commence writing such a work. His skill in overcoming this obstacle was amply demonstrated on this occasion and although the soloist might have appeared to have been working very hard, her tone and accuracy shone through.
There were many instances throughout when the cello performed against smaller groups of instruments and support from those instruments was carefully and excellently played, particularly the flute and horn. The adagio was marred a little by an untidy opening from the winds but we were soon conveyed into a landscape of dark forests and streams with a beautiful and sensitive sound form the soloist.
The finale with its driving martial rhythm returned to the virile feeling of the opening movement and the soloist had a clear definition of tone, accuracy of tuning and a real commitment to the music. The duet towards the end with the orchestra leader Andrew Rostron was beautifully played by both.
The second half of the programme consisted of the symphony in D minor by Cesar Franck. The orchestra soon had us gripped in the Gothic darkness of the opening Lento as the harmonic shifts created a real tension released by the Allegro section which followed. Here was secure playing by the players.
The second theme with its bright shining character was like a piercing ray of sunlight through the black clouds of a passing storm. There was clarity despite the rich orchestral writing.
The slow movement featured a duet between harp and cor anglais, a combination excellently played here. At times there was some uncertainty in the delicate writing for the strings. The Finale had both energy and brightness, the mood gloriously optimistic after the darkness of the earlier movements.
Overall then yet another performance of an accomplished amateur orchestra of which we should be justly proud - and Nick Concannon Hodges is to be congratulated in the results achieved.
Anthony Brannick
November 2010
June 26th 2010, Todmorden Town Hall
Todmorden's own orchestra under Nicholas Concannon Hodges once again turned in a feel-good summer concert at Todmorden Town Hall.
The programme inhabited the unfashionable and slightly mumsy 'These you have loved' territory of forty years ago: nothing wrong with that. The emphatic Copland Fanfare for the Common Man stands a little to one side from the other pieces.
The concert title was 'Classical Favourites' reflecting nine shorter pieces off-set by the Mozart Clarinet Concerto in which the world class soloist, Catriona Scott, held the hall in entranced silence despite at least one obligato from a police siren. Among many treasurable moments the whisper-quiet playing of the strings in the Mozart was sheer magic.
The players did suffer the odd intonational problem but they had to contend with a hall which does not flatter when the rafters are shaken as in the Copland Fanfare. Fortissimo moments tend to smudge. Even so, the orchestra did Tod proud.
The Vaughan Williams Wasps overture is typically English and was lovingly put across but the pleasingly diaphanous Banks of Green Willow from the same genre shone yet more effectively: what a grievous loss was George Butterworth's death in 1916. The crucial role of the harp in the Butterworth and elsewhere was taken by electrictronic keyboard consummately well played by Anthony Brannick.
The Saint-Saens Bacchanale from Samson and Delilah is one of those pieces where you know the music but may not be able quite to put your finger on who wrote it or what it is.
Ronald Binge and his Elizabethan Serenade represented British light music. It was serenely done: floating limpid and lighter than air. Charm and a sort of sly innocence characterised the Clog Dance from Hérold¿s La Fille Mal Gardée.
The two Copland extracts from Rodeo were done with zest. The gunshots and boozy cowboys were vividly put across by enthusiastic percussion and a star turn from the principal trombone. Even so, two such pieces one after the other were too much of a good thing.
To bring the curtain down - or the can-can skirts up - we had Offenbach's overture Orpheus in the Underworld. This was snappily well done in the raucous and rhythmically resting final section and in the magnificently handled and poetic woodwind solos.
Look forward to future concerts and support this valuable orchestra in times likely to be increasingly strained for the performing arts.
Rob Barnett
June 2010
March 20th 2010, Todmorden Town Hall
Todmorden Orchestra gave a superb exhibition of musical style and period, from Mussorgsky's well known 'Pictures at an Exhibition' to the world première performance of Andrew March's 'Elegy'.
The spring concert programme at Todmorden Town Hall started with the ever popular L'Arlesienne Suite no.2 (Bizet) with its weighty opening giving way to some lyrical playing by flute and piccolo over controlled strings. Conductor Nicholas Concannon Hodges led a well defined 'Intermezzo', teasing our every bit of emotion before the harp and duet in the third movement 'Minuet' delighted the audience. The opening force of the last movement 'Farandole' was looking to surge ahead from the start, but was well-held by the tenacious percussion section.
A last minute substitute (yes, it can happen in the world of musical performance) of the vocal soloist, due to ill health, brought the delightful mezzo-soprano voice of Shoshana Pavett to the stage to sing the three songs which form a part of De Falla's final version of 'El Amor Brujo' (Love, the Magician) which also contains the exciting 'Ritual Fire Dance' movement. The first song movement 'Song of the Broken Heart' began with orchestral strength, but soon the voice broke through and things continued in fine balance, sung in the traditional Andalusian Gypsy Spanish, performed with clarity and precision.
The second part began with March's Elegy 'Sanguis Venenatus' (Tainted Blood), his first-hand musical metaphor for thousands of haemophiliacs given contaminated blood. This one-movement composition reflects well a myriad of emotions through the gradual and ever-changing harmonies within a dynamic arch. The mix of simple and complex textures created a sense of relentless endeavour and inevitable submission, reflective of the composer's inspiring image of a small bird seized by a buzzard. This was descriptively and ably performed by the orchestral strings alone.
The grand finale piece, Mussorgsky's 'Pictures at an Exhibition', renowned for its movements describing a number of pictures interspersed with the recurring 'Promenade' theme, provided a fitting end to an enjoyable and well-received concert. The opening 'Promenade' portrayed by a confident trumpet playing, set the scene for the trip around the exhibition. The suite concluded with some solid playing in the 'Great Gate of Kiev', in which Mussorgsky draws on full orchestra to emphasise the strong musical theme heard throughout the movement, to which the audience applauded with great appreciation.
Stuart Issac
March 2010
November 13th 2010, Todmorden Town Hall
"Beethoven, Sibelius, Tchaikovsky" read the banner on our Birdcage Walk outside the parish church; and that was enough to fill Todmorden Town Hall almost to capacity, for if anything could outweigh the gloom of a damp and chilly November evening, these masters from the romantic peak of Western orchestral music were the men for the job.
Add fame of our town band under Nick Hodges, now regular conductor in succession to Jack Bednall who "died too young", and the artistry of our fine young violinist, Martyn Jackson, there was little or no fear of disappointment. And so our hopes were met.
At 82 I enjoyed my first ever hearing of Beethoven’s short overture to the all-but-forgotten drama "The Ruins of Athens". As a temperate foretaste of the composer’s dramatic style and mastery it was a very good "curtain raiser" and the programmers did well to revive it.
Next came the Sibelius Violin Concerto, one of the Finnish master’s most popular symphonic works, and one which shares the accolade of the best successor to Beethoven’s ineffable concerto for the instrument with those by Brahms and Mendelssohn, Bruch and Tchaikovsky.
We soon found ourselves in the northland, with the soloist’s demi-semiquavers shimmering over quiet background sonorities - perhaps a shade too quiet (or was it the hall’s acoustics, or my impaired hearing which is generally good for music; or an instinctive desire not to eclipse Martyn’s brilliance) - for many ‘flashes of real power’ (Leyton) in the sombre though exhilarating orchestral outbursts and melodic lines.
The slow middle movement shared the Nordic melancholy of the famous "swan" tone-poem and led to a vibrant exciting finale, which was unforgettably described by the essayist Donald Tovey as "a polonaise for polar bears". I can but quote Jennifer Moorhouse’s programme note about "a waltz rhythm, incredible harmonies and arpeggios" as the performers pressed ahead with flying sparks and warm melodies, "no dance the listener into Finland or whatever Fairyland Sibelius will have us attain" (Tovey).
After the interval came the evergreen Tchaikovsky warhorse-symphony no.4 to take us through menacing Fate, nostalgic memory passionately recalled by the all-girl woodwind section, tipsy daydreaming to plucked strings and the happy ending of a great public rejoicing.
I for one returned home well assured that "What is romantic is imperishable. It will always be, as long as people inhabit the earth". (Sibelius)
Frank Mc Manus
November 2009
June 20th 2009, Todmorden Town Hall
The French-Belgian theme for Todmorden Orchestra's summer concert rather suited Todmorden Town Hall with its extravagant Gallic-Pharaonic décor. Not only were we treated to an unhackneyed programme of French music avoiding the more usual Ravel and Debussy but it was also in an unconventional order.
The 52-strong orchestra played Berlioz's Harold in Italy first. Tamaki Dickenson, the viola soloist, was quite naturally to the fore and played with élan and sufficient force for her instrument to carry across the occasionally intimidating orchestral textures. The conductor, Nicholas Concannon Hodges, in an individual touch placed the harpist (Anna Christiansen) beside Dickenson so that the audience could relish the interplay between the two instruments.
It was a most committed performance in which the soloist and orchestra impressed memorably, especially in the quiet confidences of the 'March of the Pilgrims' and the 'Abruzzi Serenade'.
After the interval Saint-Saens's skeletally playful Danse Macabre must have raised a few smiles of familiarity - it's used as the basis for the signature tune for TV's 'Jonathan Creek'. The eerie violin solo was dispatched with style by the orchestra leader Andrew Rostron.
Franck's undulating poetic Les Eolides is a lush early impressionistic piece. Franck's occasionally Tchaikovskian woodwind was nicely handled.
After this sumptuous offering we come to an orchestral suite from Bizet's opera Carmen. This is not, however, the familiar sequence beloved of Beecham and others, but 'big band' Bizet from the peppery and seductive ballet-arrangement written by Rodion Shcedrin for his wife Maya Pilsetskaya. This is Carmen dazzlingly lit by Bolshoi neon. The original ballet was for a massive string orchestra with a vast battery of percussion. What we heard was the composer's concert version for full orchestra. Either way it's a superb choice but extremely demanding. The orchestra emerged from the ordeal with honours. To be innocently divisive, let me single out the first trumpet Gareth Maudling for his long, tense yet smoothly spun solos - breathtaking playing as he negotiated one dangerous corner after another.
The concert was pretty well attended, despite nearby competition that evening from Orff's 'Carmina Burana' with choral forces joined by the Black Dyke Mills Band. The Todmorden and Calderdale councils can take considerable pride in their well-judged decision to support the fine community orchestra.
Look forward to their concert on November 14th. Tchaikowsky's smashing Symphony no.4 and Sibelius's Violin Concerto with local boy made good, Martyn Jackson.
Rob Barnett
June 2009
March 21st 2009, Todmorden Town Hall
A packed Todmorden Town Hall was brimming with excitement and curiosity last Saturday at the prospect of one of the nation's celebrities, the MP Ann Widdecombe, appearing in an orchestral concert.
Ann came to take the part of the narrator in Prokoviev's timeless children's classic musical tale, Peter and the Wolf.
As with many of the most popular pieces in the classical music repertoire, this requires some skilful playing on the part of the orchestra. Timing on the part of the narrator, so that the words fit with the music of thenstory as it develops, is crucial. For a politician to take on the role - a person more used to getting across a message and having the last word irrespective of interference from an interviewer - is quite an achievement.
On this occasion, conductor Nicholas Concannon Hodges assumed the role of Radio 4's John Humphreys in keeping the speaker in check! After a slow start Miss Widdecombe soon won over the audience who paid rapt attention to the story of the precocious Peter (strings) and his adventures with the cat (clarinet), duck (oboe), bird (flute), and his grumpy grandfather (bassoon) as they took on the wolf (horns) and captured it before handing it over to the huntsmen with their guns (timpani and bass drum).
The individual characters were all well portrayed by the excellent soloists although at times the technical difficulties of the parts stretched the players. Special mention should go to Lynda Robertson on flute and Diana Monahan whose bassoon playing captured immediately the comical nature of the gruff grandfather.
The audience gave a great reception to Miss Widdecombe at the close of the piece and it was announced that she had waived her fee on this occasion and was to donate proceeds from the sale of her books available at the concert, to the orchestra,
The concert began with St. Paul's Suite for strings by Holst. This linked nicely with the youthful theme of the first half. Holst wrote this for the pupils of St. Paul's Girls School in London. The lively jig in the first movement was well played and confident but could have benefited from the players being somewhat more carefree in their playing. In the second section the running ostinato figure was a little tentative at times but the strings managed to maintain it throughout without losing the thread. The intermezzo was beautifully played with the eastern-sounding "outbursts" particularly pleasing.
A sweet duet between the first violin, leader Andrew Rostron, and viola Jenny Sheldon, was sensitively played as was the concluding quartet. The final movement is a very skilful interweaving of the old country dance theme and Greensleeves.
Given that the former is fast and the lively and the latter slow and lyrical it is hard to imagine how they would fit together. Holst must have realised that the first tune can work in both major and minor keys and as the piece slips into the minor the Greensleeves melody emerges almost unnoticed. The orchestra achieved the feat of letting us hear both tunes at the same time without either overwhelming completely the other. The section with the rising chromatic scale increasing the tension towards the end was performed with energy.
In the second half, Fauré's Masques et Bergamasques was performed by ten wind instruments. This wind band sound was ideal for the Town Hall whose acoustics has often been questioned and clearly do not suit every type of performance. However, this place worked very well and the only difficulty was getting used to the slightly odd harmonies which Fauré developed. The players performed this piece with great skill and the horns were in their element in this setting, appearing as equal partners with the wind section rather than as brass players.
The warmth of colours was greatly appreciated and there was some wonderful lyrical playing particularly in the last movement.
The concert ended with Debussy's Children's Corner, rather more usually performed as a piano piece as originally composed. The double basses came to the fore in the lullaby with a very atmospheric tone. The following serenade featured the harp, played by Maxine Molin Rose. Secure playing was the key to the success of this movement. In the 'Snowflakes are Dancing' there was a real sense of winter and a feeling of coldness permeated the hall, which was by now quite warm!
The shimmering effect was carried off well. In 'The Little Shepherd' the oboe playing of Diana Doherty was beautifully haunting. The final piece showed Debussy embracing the rag time music which was beginning to sweep across from America around the early part of the 20th century. To achieve real effect requires the orchestra to throw off the impressionism of the earlier movements and "jazz it up", spurred on by the percussion.
This the orchestra did under the excellent direction of Nicholas Concannon Hodges enabling us all to go home buoyed up by the thought of having spent an enjoyable evening "with the children"!
Anthony Brannick
March 2009
December 21st 2008, Todmorden Town Hall
Calder Valley music lovers were put in festive spirits on Sunday evening with a splendid performance given by Todmorden Orchestra, conducted by Nicholas Concannon Hodges.
They were joined for a programme of Christmas music and carols at Todmorden Town Hall by Todmorden Choral Society directed by Daniel Bath and the Youth Choir lead by Richard Pomfret. Glen Cannon acted as compere for the evening and made everybody chuckle with his amusing anecdotes.
The evening began with a rousing rendition of Hark the Herald Angels Sing in which the audience heartily joined in. This was followed by a selection from Tchaikowsky's Nutcracker Suite, performed by the orchestra; the final waltz being the highlight with the strings producing a delightfully warm sound.
The audience was also treated to some lively 'barbershop' style arrangements of Winter Wonderland and Makin' Whoopee from the Youth Choir, which got everybody's toes tapping!
Rather touchingly, it was announced that the arrangement of Little Donkey was made by conductor Richard Pomfret's father many years ago. It was marvellous to hear such enthusiastic singing. What a great sound they made, especially when the girls were joined by the boys singing tenor and bass.
There were further highlights to the evening. The Choral Society's performance of Berlioz's Shepherd's Farewell was sonorous and gentle, and it was an added bonus when they hummed the 'rustic' instrumental interludes as well.
The orchestra's warmth of sound and lilting rhythm were perfect for Strauss's Blue Danube Waltz and everybody enjoyed the witty medley of Christmas carols by Leroy Anderson.
There was only one possible way to round off such a festive evening, with We Wish You a Merry Christmas. It certainly was!
Laura Justice
December 2008
8 November 2008, Todmorden Town Hall
The Perfect Fool - Gustav HolstFlamboyance and serenity flanked two new works specially written for the Todmorden orchestra and related to the work of local son, the poet Ted Hughes who died ten years ago.
This was the second all-British concert to be given by the enterprising Todmorden Orchestra in two years. The Victorian Town Hall speaks of pride and industry applied to the arts. Bas relief panels depicting the Muses decorate the lofty roof with its Egyptian style pendant gas light fittings. The hall is soberly magnificent in greens and creams and provides an imposing ambience even if the common areas are beginning to look a little time-worn.
The 54-strong community orchestra conducted by Nicholas Concannon Hodges features a refreshing mix of ages from those in their twenties upwards. While it cannot sustain the sheeny precision and luxury of a fully professional orchestra it produces a pleasing and exciting sound and shows a commitment that communicates to the audience.
The concert opened with Holst's orchestral spectacular - the ballet music from the opera The Perfect Fool. These elemental dances are extracted from an opera of the same name which sends up wizards, potions, fools and Wagner and does so in voluptuous style. The music revels in Wagnerian magnificence - ask the brass section, especially the trombone players; after all this was Holst's chosen instrument. For an ex-student of Stanford and the Royal College of Music the style is more Rimsky-Korsakov and de Falla than Brahms. This is the Holst of Beni Mora and The Planets not the austere Holst of Egdon Heath and the Lyric Movement. Even so there was time for some beguilingly chaste solos from viola, cello, cor anglais, flute and clarinet. The finale was marked out by affectingly hushed and sustained quiet playing from the violins. Allowing for some initial splashiness the trombones and tuba distinguished themselves at the start and also in the ripplingly eruptive bow-wave that cleaves through the brass benches, left to right, just towards the close.
The first of two Ted Hughes-centred works was John Reeman's Elmet Suite - a sequence of five atmospheric miniatures. The Remains of Elmet is mysterious, speaking of desolation with a hint of the heroic. The raucously pointillistic Football at Slack has the orchestra buffeting and buffeted in a howling and shrieking Waltonian gale. The vulnerable confiding shimmer of In April makes a welcome contrast and unnervingly reminded me of kindred writing of Patrick Hadley's In Taxal Woods in The Hills. Amid this peaceful benediction there is a lovely bassoon solo. The weasels we smoked out of the bank is a rowdy Arnoldian melee with shrapnel flying every which way. After this convulsive discord Reeman bids us farewell with There come days to the hills with its sense of a slow-motion wave cresting and breaking. Its serenity, redolent of Copland, is contrasted with a sign-off of heroically belling brass. Some of this writing was tough going but I had a feeling that this music which was sometimes redolent of Craig Armstrong's One Minute was closer to Hughes's spirit than the other new work in the programme. Hughes's poems which inspired each movement were strongly read by Glyn Hughes although such are the acoustics that it was not always easy to hear him.
The Ted Hughes Suite by Lawrence Killian, the orchestra's first trumpet, struck me as much more instantly successful and noticeably gripped the affections of the audience. Killian studied with John McCabe and Hans Keller. His Three Lands suite was played at last year's Tod Proms concert as was Reeman's Beside the Seaside. The tripartite Hughes suite began with His Youth in which an idyllic summery haze and the sweet rasp of bird-song give way to a lush Ravel-like consonance and an unruly impressionist outburst recalling Frank Bridge's Enter Spring. His Loves was almost too public in its celebratory extroversion soon offering intimations of the skull beneath the face. An incongruous but utterly enjoyable flouncy soft-shoe shuffle sweeps us into a Fred Astaire and Ginger Rogers dance in the long and honourable lineage of British light music. Finally came the deeply impressive Poet Laureate movement with a strongly memorable tune, splendid Waltonian irruptions, rumba percussion and a flourish that brought a smile to the face. This music deserves wide currency. I hope that it receives its due. BBC Radio 3, Classic Fm, ASV Sanctuary, Avie and Naxos really should pay this work some heed. Do not let this superb music slip away.
If Ted Hughes was one theme of the concert then camaraderie was another. Holst and Vaughan Williams were famously close friends from RCM days onwards until separated by Holst's death in 1934. Vaughan Williams has received considerable attention in this the fiftieth year since his death in 1958. He wrote his Fifth Symphony in the late 1930s and completed it ready for the premiere in the depths of the Second World War. Its seraphic mood is deeply affecting and here it was given masterly pacing and control by Nicholas Concannon Hodges. Allowing for some few wayward moments among the strings and the horns this was a sheerly lovely performance. The horns were predominantly secure even during the most exposed pages. Interestingly the brass seemed to be given a much greater eminence than I had heard in recordings of this work. This Symphony is dedicated to Sibelius and there were some famously Tapiola-like gales from the strings and pages which recalled momentarily Sibelius's terribly neglected Sixth Symphony. All the playing, but especially that from the strings, conveyed a cogent sense of surge, eddy and flow - a luminous weightlessness that carries the music forward. The third movement was the most serene with Tallis-like textures and some stunning yet poetically understated avian playing from the flute, clarinet and cor anglais. In the finale despite one moment of blurred rhythmic detailing the dancing and buzzing intricacy of the writing was well articulated. This was a superb performance - an apt ending to a strongly rewarding concert and a charm against the chilly rain falling outside.
It was good to see the Mayor and Mayoress of Todmorden in attendance as they were at last year's British music concert.
The Todmorden and Calderdale councils can take pride in this orchestra. This is an orchestra, conductor and management committee that casts a cold eye on complacency and is prepared to embrace adventure and ambition. Long may that continue.
Rob Barnett
November 2008
Autumn concert, 15th November 2007
Spring concert, 17th March 2007