On Saturday March 17th the Chichester Symphony Orchestra presented their Spring concert at St. Paul’s Church, Chichester. Despite the very inclement weather the brave souls who attended were treated to an exciting evening of contrasting styles from the 18th – 20th century.
The programme began, rather appropriately, with Rossini’s Overture to the Silken Ladder. Much of Rossini’s music was written spontaneously, with his sponsors sitting around him demanding the music he had promised be delivered in time for the premiere. The concert began quite suddenly, but none the worse for that! With sparse orchestration to begin, the woodwind took the lead and played with great accomplishment. They were followed by the rest of the orchestra and showed themselves to be equally assured. Tempo changes were achieved well and the ‘Rossini Rockets’ were exciting, with excellent tuning (worth mentioning particularly on a cold night).
Then followed some early Mozart- Les Petits Riens, K299b
This began with a genuinely Mozartian full, well-balanced sound, which contrasted well with the chamber qualities in later movements. Some string only movements displayed a rich and well-balanced sound, particularly between the 1st & 2nd violins when playing in parallel.
There was reference to the Hurdy Gurdy with the use of a drone accompaniment, and flutes and horns were also given prominence in later movements
Respighi’s ‘The Birds’ followed. This is a delightful work in 5 short movements, a Preludio (which those of us old enough to remember the TV antiques programme ‘Gone for a Song’ were familiar with) and then 4 sections, each representing a different bird. There were some lovely fluttering of wings in ‘The Dove’ and solos for oboe and violin (doubled by clarinet with excellent tuning). ‘The Hen’ needed no explanations. Humorous and with lovely orchestration, it was great fun. The ‘Nightingale’ showed a contrast of mood, being relaxed and a showcasing the flute. ‘The Cuckoo’ used a full orchestra, a good sound with bird calls appearing from amongst all sections. It included a convincing ‘harp’ sound and a rather bizarre ‘celesta’ which sounded rather unexpected!
In the interval standing and perusing the program while recovering from the effects of the hard wooden seats, I was impressed by the very informative program notes.
The second half of the programme was a performance of Beethoven’s 7th Symphony, and with so many fine recordings available a brave and welcome choice. The first movement was joyous, with some nice Q and A going on between the parts and a good dynamic range, although perhaps the passing of the melody between the instruments could have been more prominent at times, and the bass instruments were a little overwhelmed. There was almost no break before the 2nd movement which came as a bit of a surprise. Beethoven’s dynamic markings here are at times as quiet as possible, which is very hard to achieve, so the double forte when the brass arrived was less effective. However, it was well played with some charming detail in the lace-like string accompaniment to the melody. The major section was well executed with fine playing by the horns and clarinet as was the fugato. There was a lovely scale passed down through the instruments which was a delight. The 3rd movement was again joyous. It had some great crescendos and overall good dynamics; a little uneasiness at the repeat was quickly recovered and there were some genuinely exquisite moments. The Finale was a delight with some real drama and was well played with good dynamic contrast and a triumphant finish.
This was an excellent concert, enjoyed by all.