Norwich Philharmonic Orchestra
Elgar - Dream of Gerontius
St Andrew's Hall, Norwich
15th March 2008

In the year marking the 150th anniversary of Edward Elgar's birth, this well-loved work may become the most performed of all in British concert programmes. And on Saturday evening, the Norwich Philharmonic Society added their tribute with a performance of some stature.

It did not get off to a particularly auspicious start, with the wind a little awry in tuning in the first few pages.

But under David Dunnett's expansive conducting, there developed an emotional orchestral Prelude, followed in early declamatory style by tenor David Newman as Gerontius - a happy name coincidence to narrate Cardinal Newman's words - which later, as the Soul, he modified to a quite different and meditative vocal character.

Although using his wide range well, bass-baritone Richard Strivens lacked a real richness for the Priest's incantations, but the Angel of mezzo-soprano Diana Moore was both warmly comforting and spiritual. Behind them all, the orchestra (leader, Ben Lowe) always reflected the passion of the momentous circumstances.

Altogether, this was one of the best and most evocative collective Philharmonic concerts of recent times.

Christopher Smith , EDP 17th March 2008
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

Performance that won our Admiration
Norwich Philharmonic Orchestra
Schumann - Piano Concerto, Mahler - Symphony No 5
St Andrew's Hall, Norwich
11th February 2008

Just two works made up a full programme.

In Schumann's Piano Concerto, the soloist was Piers Lane. At his most engaging in the more delicate middle movement, he was assertive enough throughout to make the work a genuine dialogue, except at the very end. There the balance was allowed to work against him.

The arrival of a full panoply of brass and a team of percussionists announced that the Norwich Philharmonic Orchestra, conducted by Peter Britton and led by Ben Lowe, was about to embark on a major work. Gustav Mahler's Fifth Symphony fulfilled expectations.

Using every instrumental resource and with gigantic dimensions, it made a tremendous impact in its five extended sections, from the sinister, unrelenting tread of the opening funeral march to more swiftly moving sections that were themselves given ample space to develop.

Emotions were strong, the climaxes stirring and the instrumentation strikingly vivid and whole-hearted. In this context the centrally placed famous adagietto was particularly impressive for its restraint. It seemed to convey all the sorrows of the world.

Undaunted by every challenge that confronted it, the orchestra tackled the score that again and again left individuals mercilessly exposed. The concentration and sheer courage of the players won admiration.

At the end the conductor singled out the horn player Lynne Roberts and the intrepid trumpeter Ray Simmons for special applause, then acknowledged the contribution of each group in the orchestral family to a real achievement.

Christopher Smith , EDP 11th February 2008
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

Norwich Philharmonica (sic)
Sibelius- Finlandia, Dvorak - Cello Concerto, Sibelius - Symphony No 2
St Andrew's Hall, Norwich
5th November, 2007
In its 167th year, the Norwich Philharmonic Society opened the new season with an orchestral concert on Sunday afternoon. Although there was some division of opinion, switching from the traditional Saturday evening seemed to be welcomed by most.

Led by Ben Lowe, the orchestra was conducted on this occasion by John Andrews. A striking figure with a fine head of hair and a voluminous frock coat, he showed the way with wide gestures, as well as an emphatic, incisive beat, always looking to stir powerful emotions.

The programme began with Finlandia. Its thrilling nationalistic fervour might have made all the more impact if the reflective passages had been taken rather more gently and allowed space to touch our hearts.

The soloist in Dvorak's Cello Concerto was Andrew Joyce, who was born in 1982 in Norwich, where he had his first cello lessons.
After the lengthy orchestral introduction, Joyce took his opportunity to reveal deft technique and attractive tone in one of the most popular works for his instrument.

Sibelius's generously proportioned Second Symphony with its patterns of great forces gradually, at times almost hesitantly, growing again and again to full strength, suited the players and their conductor to a T.

Christopher Smith , EDP 6th November 2007
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

Norwich Philharmonic Chorus and Orchestra and Choir of Musik-Institut Koblenz
Schubert - Rosamunde Overture, Beethoven - Symphony No 8, Schubert - Mass in A flat
St Andrew's Hall, Norwich
27th May, 2007
The final concert of Norwich Philharmonic Society's season yesterday evening, in a continuation of the long-established series of musical exchanges, saw the stage overflowing with instrumentalists and singers.

After a percussive opening, Schubert's Rosamunde Overture settled into the composer's tunefulness, from woodwind in particular. Not that Beethoven was averse to a tune or two in his Symphony No 8 in F and the orchestra (leader, Dominic Hopkins), conducted by Tom Seligman quickly correcting a small patch of untidiness, musically made light of many passages. But they were also able to make powerful interjections confidently and then enjoyed the Beethovian fun of the Scherzo, whilst harmonious horns had their share of it in the next movement. This was the precursor to a lively finale, precisely handled by an orchestra in fine form.

In the second half, Schubert's Mass in A flat, with the combined forces now conducted by David Dunnett, lacked impact to start with, as did the quartet of soloists. But was this just to prepare the listener for the exciting Gloria? The Credo followed in the same exultant vein until the Et Incarnatus centrepiece was reached. Not always does a Mass out of liturgical setting have a big impact - this one did.

Michael Drake , EDP 28th May 2007
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)



Wagner - The Flying Dutchman Overture, Mozart - Clarinet Concerto, Holst - The Planets
St Andrew's Hall, Norwich
February 12, 2007
A large audience packed St Andrew's Hall for an exhilarating concert by the Norwich Philharmonic Orchestra, conducted on this occasion by Andrew Fardell and led by Fiona Hutchins. The Flying Dutchman overture made immediate impact with waves of passion. Next came Mozart's ever-popular clarinet concerto. Sarah Williamson was the soloist, blonde in her black dress and with a ready smile until she turned to the serious matter of putting every effort and every last drop of breath into her accomplished, meticulously prepared performance. The Planets Suite offered an enlarged orchestra majestic opportunities for showing its prowess, with Tim Patient at the organ assuring the foundations. Imperious brass and pounding percussion brought passion to Holst's vivid score, though the strings could have done with richer tone in the more meditative sections.

Michael Drake , EDP 12th March 2007
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)



VAUGHAN WILLIAMS - London Symphony, Malcolm ARNOLD - Tam O'Shanter, Return of Odysseus, RACHMANINOV Spring Cantata
Norwich Philharmonic Orchestra, St Andrew's Hall, Norwich
November 4th, 2006

This concert celebrated the contributions made to our musical life by dedicated violinist and orchestra leader Colin Clouting and the prolific, Oscar-winning composer Malcolm Arnold.

Opening with his boisterous Tam O'Shanter overture showed this commemoration was not to be a mournful affair.

Under David Dunnett, the Philharmonic Chorus put energy and pathos into its interpretation of Arnold's Return of Odysseus, though the tone flagged a little in some of the longer phrases. Compressing Homer's long story into half an hour, the music went through a range of moods from despair to a gentle lullaby, cleverly switching from unison episodes to more complex passages as the mood demanded.

Some suggestions of the timbre of the lyre added local colour, and the composer knew how to indicate Greek civilisation was not always just sweetness and grace.

The singers also performed Rachmaninov's Spring Cantanta. The text, in Russian, linked personal emotions with the seasons as a man emerges from a winter of marital discontent to reconciliation as the cherries blossom. At his best in melancholy, Jonathan Brown was the baritone soloist.

Conducted by Adrian Brown and led by Dominic Hopkins, the Philharmonic Orchestra went about Vaughan Williams' London Symphony with a will. The first viola and the first horn distinguished themselves in brief, but important, solos and the timpanist brought panache and impetus.
Christopher Smith , EDP 6th November 2006
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)



KARL JENKINS - The Armed Man: A Mass for Peace, ELGAR - Spirit of England
Norwich Philharmonic Orchestra, St Andrew's Hall, Norwich
March 18th, 2006

With not a spare seat in sight, both the orchestra (leader Ben Lowe) and chorus (under the calm conducting of David Dunnett) produced a vivid account of Karl Jenkin's The Armed Man: A Mass for Peace, which has become a favourite broadcast piece.

The percussion section in particular had a field day while the singers, although a little light on sopranos, made some emotional pleas. None more so than in the sections of the Latin Mass as the Kyrie and Sanctus, which were given a fine lilt, backed often by African-type rhythms. It is this amalgam of styles that makes the Mass universally acclaimed.

Earlier, Fiona Hammacott was the soprano soloist in Elgar's less often heard Spirit of England. Over a forthright chorus its patriotism soared. Well-balanced unaccompanied choral work and the soloist's emotional choral singing led to those most feeling of words: “We will remember them”.

Michael Drake , EDP 20th March 2006
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

TCHAIKOVSKY - Piano Concerto No.1, SHOSTAKOVITCH Symphony No.10
Norwich Philharmonic Orchestra, St Andrew's Hall, Norwich
February 11th, 2006

Tall, energetic and confident, Jill Morton launched into Tchaikovsky's First Piano Concerto with the commitment demanded by this romantic music.

The Norwich Philharmonic Orchestra, led by Ben Lowe, was less successful in creating a good first impression, but quickly regained its poise.

After the drama of the first movement, the second offered a pleasant pattern of changing moods, while the features of the finale were the vigorous dance rhythms and a skilful crescendo.

The Russian theme was continued with Dimitri Shostakovich, whose centenary is celebrated this year. In his Tenth Symphony he gave expression to his artistic frustrations in Stalinist times.

The result, as we heard in conductor Russell Keable's persuasive interpretation, was a massive, passionate work. Little short of an hour long, it created the most powerful contrasts with all the resources of the modern symphony orchestra.

With the tempo marking “moderato”, the huge first movement was anything but moderate in spirit. After episodes full of dissonant vehemence, the instrumentalists revealed their class when adroitly switching styles for sections that were more conventional and lyrical.

The orchestra was unflagging in the brusque second movement, and in the third the horn players kept their nerve for their exposed, mercilessly repeated motif. The finale, though, was not quite a crowning climax.

Christopher Smith , EDP 13th February 2006
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

First-Class Orchestral Work
Andrew LOWE-WATSON - Trafalgar 1805 (world première), KHACHATURIAN Movements from the ballet Spartacus, HINDEMITH Metamorphosen on themes of Carl Maria von Weber, VAUGHAN WILLIAMS Dona Nobis Pacem
Norwich Philharmonic Choir and Orchestra, St Andrew's Hall, Norwich
November 5th, 2005

Undoubtedly the orchestra started Saturday evening's concert with a bang in Hindemith's Metamorphosis on Themes of Carl Maria from von Weber and followed it with a jazzy Scherzo. Solo flute was beautifully woven into orchestral backing with impressive brass fanfares.

Lively performance continued in the first section of Khachaturian's Spartacus Suite, lush strings followed in the (Onedin Line) love duet as throughout these two opening works the Orchestra (leader Ben Lowe and conducted by Andrew Fardell) changed musical character with ease.

Norfolk-based composer Andrew Lowe Watson's 1805 Overture was given its premiere and was fully evocative of the naval conflict. Finely crafted and well interpreted, it built to a timpani Fusillade in the Battle - perhaps the Hearts of Oak theme was a little overused but it made a telling climax.

Donna Nobis Pachem set to Walt Whitman's telling poetry by Vaughan Williams showed the chorus (conducted by David Dunnett) to be well defined and reasonably balanced, although too often overcome by the orchestra. Soprano Harriet Fraser sang with clarity and Jozik Koc projected well his warm baritone with the final unaccompanied stanzas being thought provoking - again under first-class orchestral work. But it was another Saturday concert sparsely attended.

Michael Drake , EDP 7th November 2005
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

Tchaikovsky - Violin Concerto, Rachmaninov - Symphonic Dances, Prokofiev - Pushkin Waltzes
Norwich Philharmonic Choir and Orchestra, St Andrew's Hall, Norwich
February 12th, 2005

Not often heard on the concert platform, Rachmaninov's Symphonic Dances represented an interesting piece of programming on Saturday evening.

And it was made more so by conductor Russell Keable's descriptive insight into this untypical composition – his last orchestral work – with its large percussion section and alto saxophone among the forces picking up the fragments of tunes.

The longer melodious passages were delightfully dealt with by woodwind, in particular early in the first movement with the rest of the Orchestra's (leader Ben Lowe) silent, giving an eeriness against the following lush strings and bright brass

In the end the well balanced waltz of the Andante probably succeeded on points over the darker orchestral surroundings and a highly rhythmical and percussive finale was as exciting as one could wish for.

Fortunately the early distinct lack of tone and character soon went up a notch as the themes emerged and, with full and sure orchestral backing, it began to exude life and develop with assurance, culminating in a bravura display in the long cadenza

The central Canzonetta was serenely wistful while the finale contrasted the two themes to great effect until a flamboyant climax prefaces deserved acclaim

The other work, Prokofiev's Pushkin Waltzes, also had a low-key opening but settled into sedate waltz time marked by some fine woodwind playing.

Michael Drake , EDP 14th February 2005
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)



Bartók - Concerto for Orchestra, Fauré - Requiem
Norwich Philharmonic Choir and Orchestra, St Andrew’s Hall, Norwich
November 6th, 2004

Bartók and Fauré open season
There was an enterprising start to the society's season as the orchestra (leader, Ben Lowe) chose the Concerto for Orchestra by Bartok.

Not surprisingly, as the composer lived the final years of his life there, this work seems to conjure more scenes of America than of his native Hungary.

It was given a fine start by a haunting flute and later a series of woodwind and brass duets which contained much sensitivity and humour.

Well-defined unison passages added to the relative starkness of the central of the five movements as a penetrating piccolo over quietly integrated strings vigorous dancing rhythms make the finale altogether happier with every instrument playing a confident part under tha positive guest conducting of Andrew Fardell.

A work which started as a virtual "charity" commission had a lot to say.

The Faure Requiem is always popular and in the second half with David Dunnett keeping a smart pace, the chorus produced a finely balanced opening, simple gentility in the Offertorium and a well-judged censerial swing to the Sanctus. But this was a frustrating performance lacking in consistent confidence despite sympathetic orchestral accompaniment.

Michael Drake , EDP 8th November 2004
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

Elgar - The Kingdom
Norwich Philharmonic Choir and Orchestra, St Andrew’s Hall, Norwich
March 20, 2004

Gallantly resisting the lure of an easy, well known choice, the Norwich Philharmonic under David Dunnett earned the gratitude of music lovers with Elgar's The Kingdom.

This oratorio is less familiar than Gerontius, less sharply focussed and cannot rise to its climax in one great tune. All the same, there is power, even grandeur, in its reflections of religious feelings.

The orchestra had splendid opportunities with episodes from early parts of the Acts of the Apostles. The overture, extended and animated, created an impression of the emotional tumult of Christ's followers after the Crucifixion. At the end, the calmer instrumental conclusion showed anguish changed to understanding and thanksgiving.

In the role of St Peter, baritone Robert Rice rose to authority, and, as the Virgin Mary, soprano Claire Seaton maintained impressive steadiness of tone. The other two soloists were the fine mezzo Juliette Pochin and the tenor John Bowley, whose upper notes were not entirely persuasive.

The chorus had to show a certain versatility, as Christians at prayer, a mob in Jerusalem or a mystique choir.

Led by Ben Lowe, whose confident solo passage added depth, the orchestra gave to the climaxes the ring of Elgarian nobility.

Christopher Smith, EDP 22nd March 2004
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)

Berlioz - Symphonie Fantastique
Norwich Philharmonic Orchestra, St Andrew’s Hall, Norwich
February 14th, 2004

Symphonie fantastique indeed
Job satisfaction in the percussion section, especially for the four timpanists must rank very highly in Berlioz’s Symphonie Fantastique and after Saturday’s highly charged performance from the whole orchestra (leader, Ben Lowe), audience satisfacton, too, reached a high level.

Love was in the air for this Valentine’s Day concert, although it did not run particularly smoothly, nor were the waters the calmest in Dvorak’s Symphonic Poem The Water Goblin.

But as the music flowed through the heavily percussive section there was much more clarity.

Romance was also in plentiful supply in Wagner’s Wesendonck Lieder.

One of the world’s leading dramatic sopranos, Elizabeth Connell, took it much further than the archetypal, fierce Wagnerian singers as vocal strength was allied to subtle and lyrical tenderness.

This was especially so in the Hot house and the final Traume.

There was also great sensitivity in the Symphonie Fantastique with just about room on stage for the augmented orchestra with a sure bedrock from cellos and basses in the opening movement.

The whole was kept on springs by guest conductor Tim Murray.

More percussive rhythms for the whole orchestra was a mere foretaste of the Finale. Symphonie fantastique indeed.

Michael Drake, EDP 16th February 2004
Republished with permission of the Eastern Daily Press (www.edp24.co.uk)