Folkestone & Hythe Orchestral Society’s 50th Anniversary Concert
Saturday 26th November 2011, Leas Cliff Hall Folkestone.
One of the great things about British music which differentiates us from many of our near neighbours is the opportunity so many of us have for making music at whatever level, and for musicians to come together, both professionals and amateurs, to produce really memorable musical occasions. One such occurred in the Leas Cliff Hall in Folkestone on Saturday when the Folkestone and Hythe Orchestral Society held their 50th Anniversary Concert. They were joined for the occasion by the Folkestone Choral Society with their conductor Berkeley Hill, and also by one of the world’s finest pianists, Freddy Kempf.
The programme commenced with the Polovtsian Dances from Prince Igor by Borodin, the main theme of which was popularised in the song ‘Strangers in Paradise’ from the musical show Kismet. This work really gave many opportunities for the excellent woodwind section of the orchestra to shine. The percussion too were able in the middle section of the piece to express themselves forcefully and effectively! The choir are to be commended for their decision to sing in the original Russian – a real challenge for most. Although there were inevitably moments when the orchestra overpowered the singers, the balance between the two was for the most part excellent with great restraint being shown by the players.
The highlight of the evening was without doubt a performance of Rachmaninov’s Piano Concerto No. 2 by top international pianist, Freddy Kempf. Freddy has a strong link with Folkestone from his youth, and it was therefore so appropriate that he was able to make himself available in his busy schedule to come and support this special evening. His performance was simply mesmerising. The contrasts of power and total tranquillity; a staggering musical technique; the changing of roles from leading to accompanying; his total awareness throughout of what the orchestra were playing; all of these combined to transfix all who were fortunate enough to be present. The magic was certainly felt by the orchestra too, who were inspired and played with extreme discipline and sensitivity throughout. In the slow movement there were some particularly memorable moments in the woodwind and string playing. The dialogue between orchestra and soloist was so well realised, and congratulations must go to the conductor, Andrew Lowen for the superb way he handled the whole performance.
After the interval the baton was handed to Berkeley Hill who started by leading a rendition of ‘Happy Birthday to you’. (The name took a little bit of fitting in)! The Romantic theme of the first half was continued with Hubert Parry’s ever popular choral work, Blest Pair of Sirens. This was the work that led to the composer’s ability being widely recognised, and has regularly been performed by choral societies up and down the land ever since. It has that quality of ‘Englishness’ that also characterises much of the work of his contemporary Elgar. The choir were able to enjoy the composer’s broad brushstrokes as the orchestra provided a solid foundation. After the powerful works so far heard in this concert, the Serenade to Music by Vaughan Williams which followed, was a masterpiece of programme planning. This was V.W. in full pastoral mode, requiring and receiving great control and sensitivity throughout. The composer uses the harp in this piece in his effort to create a feeling of tranquillity, which was also enhanced by the orchestra’s leader, Floriane Peycelon in her solo passages. The two vocal soloists, Tamara File and Paul Young also fulfilled their roles well in adding to this atmosphere, and were supported sensitively by the players. A well-judged overall balance between choir and orchestra was also achieved.
Berkeley then returned the baton to Andrew for the final item of the evening, the Prelude to Wagner’s The Mastersingers of Nuremburg. Up to this point in the programme the brass players of the orchestra had needed to play with great restraint for much of the time. Now was their moment, which they were able to enjoy to the full! The double bass section too has its moment in the spotlight with the main tune proudly played near the end of the piece. The orchestra coped superbly with some challenging string writing and physically demanding parts in the woodwind section. It is a sobering thought that after this physically demanding Prelude, musicians accompanying the whole opera still have another four hours or so ahead of them!! However, tonight the piece created a really rousing finale to a great evening of music making, which was fully appreciated by a packed hall.
It is very reassuring for the future of music making in this country when one attends such an occasion as Saturday and sees an orchestra comprising players of all ages from teenagers upwards, making wonderful music in combination with a large and successful choral society, and alongside one of the world’s finest soloists.
M.J.L. 28th November 2011
