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REVIEW OF ORCHESTRAL CONCERT 20 JUNE 2009
The two speakers at the start of the concert made much of the orchestra's amateur status and, with a programme of giants of classical music - of Schubert, Weber and Brahms - a slightly apologetic scene may have been set were it not for the obvious love for the humanising power of music from conductor, Robin Morrish.
The 'Unfinished' Symphony started with hushed reverence in the lower strings. The violent contrasts in dynamics were effectively judged, although the additional brass created a wall of sound, which sometimes overpowered the leaner woodwind lines. The delicious second movement was an oasis of calm and tender playing, with lovely dynamic shading across all the sections of the orchestra.
The Mozartian wit and charm of the Weber Bassoon Concerto, caught from Michael Haydn, Weber's teacher in Salzburg, was evident from the opening chords. There was no sign of the mysterious world we had just left behind; now the Phil were spritely and sounded more homogenous altogether.
It was a welcome return to Tonbridge for soloist, Hannah Balcombe, who discovered the bassoon at local Tonbridge Grammar School for Girls before an illustrious career at Music College and lately in the music services of the Royal Air Force.
Balcombe's lithe passagework and singing tone caught the classical grace and balance of this concerto well. She played with touching cantabile across the range of the instrument, particularly in the Adagio. Soloist and orchestra thrillingly captured the contrasts between dynamics. The rondo finale was a dramatic tour de force, with Balcombe showing a formidable technique, as well as the operatic nature of the music, not just through her instrument but her facial expressions as well. Characters appeared in the music. Witty then coquettish, the streams of notes never lost direction and purpose, and the orchestra judged their accompaniment well. At times ,I was struck by how much the music seemed like wordless Gilbert and Sullivan, and at others, high drama.
The main work of the second half was the mighty Brahms Fourth Symphony. This again was a labour of love for conductor Morrish who performed every nuance and twist of the music himself as he goaded his players to join him. The lovely rich string playing in the slow movement was beautifully controlled, and contrasted with the giocoso of the third movement. No traditional scherzo this, no jokey elements, with a confident interplay between the piccolo and flute. The orchestra was generally more suited to the Germanic textures of Brahms, playing the rhythms tautly, and with a real yearning at times. The passacaglia was an intellectual and emotional outpouring, straining the players but sustained by their genuine love for the music. The sustained applause after the thrilling coda was well earned.
Review of Choral and Organ Concert 23 May 2009
This was my first Philharmonic concert and the first time I'd been inside Tonbridge School Chapel since 1971 - two memorable experiences in one evening. The chapel is kinder to quieter music: in both the choral and orchestral halves of this concert the climaxes could sound aggressive.
We began with a sequence of twelve short choral pieces covering four centuries - too many pieces to make a coherent programme without some strong underpinning theme, however attractive each one may be.
I don't think I've ever heard Monteverdi sung by such a large choir, but the conductor's clear beat and well-signalled entries ensured firm rhythms. Variety of texture was thrillingly provided by the brass quartet's toccata from the organ loft and later by Helen Page and Hattie Serpis, also aloft, singing like angels - or perhaps cherubs, with their boyishly pure vibrato-less tone.
The commonly repeated opinion that there were no great British composers between Purcell and Elgar, or even Purcell and Britten, seems to belong to the old mountain peaks and foothills view of art and music history and also to disparage many composers of considerable merit - including several Wesleys, and at least two more composers featured in this evening's choral selection.
But next, Purcell. A choir of this size rather softens the contours of a work such as Hear my Prayer. However, when we reached Samuel Sebastian Wesley, the programmed music was at last growing into the clothes provided. Ellen Thomas sang the solo with a beautiful treble-like voice (another cherub). The most usual excerpt from Brahms' Requiem followed, with organ accompaniment.
After so many short, relatively subdued pieces, the rousing start of Parry's I was glad was particularly welcome. The pieces by Charles Wood and Patrick Hadley were new to me and might have made a stronger impression in a different programme. The Evening Hymn came as quite a shock to someone used to singing this every term-time Sunday for four years in its chaste Gregorian form. Henry Balfour Gardiner's setting (whose opening notes recall the Gregorian) was rich gourmet fare on which to end the first course of the evening.
What a grand classical composer Saint-Saëns was, and how wonderfully he used a full Romantic orchestra in his Third Symphony! He was full of classical wit too in the multifarious ways he introduces his germinating theme. In the middle of Part I he lets us hear how this apparently Mendelssohnian scherzo theme is a close relation (or near miss) of the famous Gregorian Dies Irae. In the Adagio another mutant sneaks in slyly on pizzicato basses. And at the end, what Maestoso grandeur in the apotheosis of the theme!
I had looked through the score earlier in the week and thought if the Philharmonic Orchestra can play this they must be good. They did and they were. There are always things it's not fair to expect from anything less than a fully professional orchestra: the building of long spans, total cohesion at moments of high speed and high activity (the Presto sections in Part II were a bit wild, but nonetheless exciting). And fugal entries are merciless exposers of anything less than perfect intonation. But all this was as nothing given the glorious climax as organ and orchestra resounded from opposite ends of the chapel at the end of a wonderful summer's evening.
Michael Downey
*
Review of Tonbridge Philharmonic Society Concert, Messiah, Saturday 11 April 2009
Conductor Robin Morrish's speeds were spot on, exuberant and dancing in 'And the glory of the Lord' and with exactly the drive to sustain the drama in the Passion sequence choruses at the opening of Part II. Here the chorus came into its own with the tenors providing a much-needed incisiveness of tone at the great climaxes. At modern speeds articulating Handel's florid runs is seriously difficult, especially for a large chorus. It was to the credit of the strings, ably led in all sections, that their precision and clarity of articulation provided the essential rhythmic under-pinning to so much of the performance.
As ever, the Philharmonic was well served by an admirable quartet of soloists. If the somewhat gentle voice of contralto Leonie Saint seemed restrained it was only by comparison with the stellar trio of her companions. Tenor Sam Furness set the performance alight with truly Baptist-like fervour in his first recitative and was most moving in 'Thy rebuke hath broken his heart'. Wendy Nieper sang the angel's recitative with perfect simplicity and then gave her arias exactly the operatic style Handel requires, complete with beautifully judged ornamentation and sparkling fioritura. Her performance of 'I know that my Redeemer liveth', accompanied solely by Penelope Howard's exquisite violin obbligato, and with excellent continuo support from Elizabeth Moore (cello) and Chris Harris (chamber organ), was a moment of true musical perfection. The bass of Edward Price excelled throughout, holding us rapt in 'Behold I tell you a mystery' and, perfectly paired with Jeremy Clack's brilliant solo trumpet, blazed with conviction in 'The trumpet shall sound'.
At such moments, and indeed, when choir, orchestra, soloists (and audience!) joined forces for the great 'Hallelujah!' and, in the final magnificent fugal 'Amen', Handel's masterpiece came spectacularly to life.
Charles Vignoles
Review of a concert by The Tonbridge Philharmonic Society
A review of the orchestral concert by Tonbridge Philharmonic Society, entitled FRENCH EVENING, at St Stephen's Church, Tonbridge on Saturday 21 February 2009.
An evening of Romantic French music at St Stephen's Church delighted a large and enthusiastic audience. Under the energetic direction of guest conductor Michael Hitchcock, the orchestra gave stirring performances of works by Berlioz and Bizet. It was a veritable tour de force.
In Berlioz's Overture, Les Francs-Juges, the menacing trombones together with the percussion and brass section conjured up the terrifying ordeal endured by prisoners on trial for whom the only sentence was death.
Harold in Italy is essentially a conversation between orchestra and solo viola. Soloist Robin Morrish gave an assured, warm and sonorous performance but, because of the muted nature of the instrument, its sound carried more readily in quieter moments such as the beautiful duet with the harp in the first movement. The relentless double bass pizzicato effectively underpinned the second movement, reflecting the pilgrims trudging along to evening prayer. The final movement is otherwise called the Orgie des Brigands, and it is certainly furiously dramatic. However, on this occasion the tempo was a little cautious to be described as allegro frenetico.
The orchestra was in its element in the L'Arlesienne Suite by George Bizet, drawn from incidental music composed for Alphonse Daudet's eponymous play. They opened the work with a splendidly confident unison string theme for the Marchio dei Rei and produced stunning solos from flute, harp and saxophone. In the final movement, where march and Provencal Farandole come together, the orchestra played with verve and panache.
Michael Hitchcock is well-known for his work with young people as a music teacher and orchestral trainer. He successfully brought out the best in this talented and hard-working local orchestra.
Ruth Langridge
CAROLS BEAT CRUNCH
Following the celebration of Traditional Family Carols on Saturday 20th December, two local charities will be over £2,000 better off. Nearly 1,000 Tonbridge people overall attended the afternoon and evening events and the total amount raised was well up on last year.
With final figures to come, Tonbridge Philharmonic and Tonbridge Round Table - joint organisers - reckon that entrance receipts, plus donations, will take the cash raised well past last year's total.
Chairman of the Phil, Mike Tonge, said: "Once more, we are overwhelmed by the generosity of the people of Tonbridge".
The two charities set to benefit, the local branch of the Multiple Sclerosis Society and PACT, parents of the Autistic Centre in Tonbridge, are delighted. MS Chairman, Dermot Drysdale, said: "Not only did many of our members enjoy marvellous singing in such a stunning setting, but the funds raised will allow us to continue our efforts to provide welfare support to those affected by MS in the local community".
As well as traditional carols sung by the whole congregation, the Philharmonic choir provided seasonal choral music and were joined in the evening by the Sevenoaks and Tonbridge Concert Band, playing fanfares and special carol arrangements.
Chairman of Tonbridge Round Table, Dr Deacon Harle, said: "The charitable response has been amazing and consequently over £4,000 will be donated between two local charities, MS and PACT. The music by the Tonbridge Philharmonic society continued to delight, combining beautiful Christmas pieces with traditional carols for the congregation to join in".
*
Saturday 21 June 2008
Malcolm Arnold: Four Scottish Dances.
George Dyson: The Canterbury Pilgrims, for soloists, choir and orchestra.
Tonbridge Philharmonic Society is clearly looking for innovation in its programming, despite the proficiency with which they can perform mainstream repertoire. This programme was, to quote conductor Robin Morrish, a secular concert designed to convey the feeling of an English summer, nevertheless enhanced by the gloriously worshipful environment of Tonbridge School’s chapel, and the gradually diffusing evening light.
The Arnold work began confidently with a Strathspey, in which brass displayed suitable brashness, especially the entries on weak beats. Strings showed a high degree of discipline in the following reel, and woodwind solos exemplified Arnold’s typical humour, particularly the bassoons. Strings again were distinguished in their gentle string crossing motifs followed by the warmth of their soaring high melody. Blend and intonation were assured throughout the orchestra. The finale, a highland fling, featured high woodwind sonority, incisive fast rhythmic entries from the brass, and an impressively abandoned feel in the tuttis. Great fun!
The Dyson is a substantial work of some 13 movements, lasting an hour and a half, due partly to the prosaic nature of Chaucer’s modernised text. The soloists assumed the role of some of the leading characters, delivering the text in full without resort to anything equivalent to Baroque recitative, and at no point are they required to sing in ensemble. All three confidently conveyed the spirit of Chaucer’s characters. Tenor, Sam Furness was an expressive narrator, playing the central and most substantial role, who sang with clarity and true intonation. He became much more assured and relaxed as the work progressed. His voice has a rich variety of colour, heard to great effect in the harmonically inventive tenth movement, The Doctor of Physic, where strings shone with their searing high pizzicatos and contrasting “sul ponticelli” bowing. Soprano Diana Gilchrist sang in two movements: the Nun, in which she floated serenely over beautifully warm rich string chords, interacting with woodwind soloists, especially the cantabile plangent oboe. In contrast, her serenity found a brilliant and playful contrast for The Wife of Bath. Bass, Edward Price, was completely assured throughout the work. He brought out the full extent of the text’s humour, with evident enjoyment. His tone was rich and full, with superb diction, but even he was, on so few occasions, somewhat overwhelmed by the sheer exuberance of the orchestral playing.
The choir made a very good impression from the start with an unaccompanied section in carol-like homophony. They were equally at home in the slowly unwinding fugal writing of The Clerk of Oxenford, despite a very angular theme. Even in the fuller homophony, only the orchestral basses played, giving an impression of a baroque oratorio chorus, but without continuo. The men, fewer in number than usual, made a notably exuberant start to the fast earthy counterpoint representing the common merchant. The choir achieved a very full and committed sound in the many climaxes throughout the work, and faces were animated and clearly moving with the drama.
Robin Morrish directed the whole with aplomb; eliciting great alertness from the orchestra to the constantly changing time signatures and speeds, and yet drawing some beautiful tenuti, particularly the strings at changes of bow direction. A quartet of solo strings provided a perfectly magical ending to the second movement. Orchestral tuttis culminated in a glorious blaze of colour, blending richly with full choir, following the words “amor vincit omnia”. However, the work’s most dramatic moment was at the end, when Sam Furness, representing the knight, walked down the centre of the chapel, to represent the start of the pilgrimage, and the work ends with a single, quiet, haunting call for solo horn.
Is the Dyson work quintessentially English? In many ways, yes, but there are traces of other influences – even impressionism. The bulk was in the harmonic fingerprint style of Vaughan-Williams, with his love of chords juxtaposed to create false relationships. The homophonic carol-style is hard to present in great variety, and a lot of the text was conveyed at a pastoral pace. The medieval-sounding parallel fifth chords could be potentially cloying, but the composer’s harmonic inventiveness, not to mention huge variety of orchestral effects and texture, often saves him from banality. Certainly, my lasting impression was of a “spiritual” journey of vitality and purpose, concluding a most enjoyable evening. One can only note with regret that there was not a larger audience to appreciate this daring inclusion in the society’s season.
Richard Walshaw
*
£4,000 Christmas present from carol concert
RICHARD
BASDEN welcoming the Mayor of Tonbridge & Malling, Cllr MRS ANN KEMP,
to the
afternoon concert.
The town's annual celebration of Traditional Family Carols on Saturday 15 December raised over £4,000 for two local charities. The windfall will be shared equally between the Hospice in the Weald and the Valence School, Westerham.
John Ashelford, Chief Executive of the Hospice, expressed his sincere thanks for the donation. He said: "We're absolutely delighted and are very grateful to everyone who made this possible. The money will go towards the £1 million target of for our Day Therapy Extension".
In its 36th year, the concert of Traditional Family Carols in Tonbridge School Chapel, attracted near capacity audiences to the afternoon and evening concerts. Everyone present joined in traditional favourites, while the choir of Tonbridge Philharmonic Society performed a selection of special Christmas music for the occasion.
Chairman of Tonbridge Phil, Mike Tonge, said: "Once again, we joined forces with Tonbridge Round Table for the annual concert in the magnificent surroundings of the Chapel, with superb contributions from the Cameo Singers and Hillview School".
Chris Pratt, Chairman of Tonbridge Round Table, said: "Tonbridge Round table was privileged to work with the Phil to stage such a fantastic event. I would like to thank them for the excellent programme which was quite superbly performed - twice over. We will look forward to making next years concert's even better".
*
Review of a concert by The Tonbridge Philharmonic Society
Sunday 25 November 2007
To celebrate the 150th. anniversary of the birth of Sir Edward Elgar, Tonbridge Philharmonic Society presented an ambitious and unusual concert. The personal commitment to both the planning of the programme and the conducting was evident in the thoughtfulness and intensity which conductor Robin Morrish displayed. Clearly both choir and orchestra were inspired and carried along by his vision.
We began with a broad and warm interpretation of the Prologue to The Apostles. It was apparent that this concert would demand a strong emotional response from both performers and audience. There were moments which captured both the ecstatic and the transcendent; the orchestra moving between a full-blooded solidity and a delicate, almost chamber music-like texture. Robin Morrish demanded and achieved just the right level of flexibility which Elgar's music requires.
A highlight was the impact made by both the soloists. Both excelled at communication with the large audience. Caroline Walshaw (in The Spirit of England) demonstrated a wonderful sense of relaxed yet dignified authority and strong tonal colour in her antiphonal exchanges with the choir. Susan Legg, making her fifth visit to Tonbridge, captured the hearts of the performers and audience with her warm personality, unfaltering accuracy and intensity of delivery, all supported by a sense of unshakable serenity.
Roger Evernden
*
Review of concert by the Tonbridge Philharmonic Society
Saturday 23 June 2007
Tonbridge School Chapel
The three-yearly visit of members of the Heusenstamm Kantorei could not have been better timed for the ambitious all-Beethoven programme which took place in Tonbridge School Chapcl on 23 June.
The Mass in C and the Choral Symphony both present daunting challenges to any choir and the addition of 29 singers - and 17 splendid sopranos in particular - to the 93-strong Tonbridgc Philharmonic Choir was an undoubted advantage.
The Kyrie of the Mass in C was shaped with flexibility and tenderness by conductor Robin Morrish, though somewhat marred by a slight imbalance between the basses and sopranos, probably due to the chapel acoustic which tends to favour the higher-pitched sounds. In Suscipe deprecationem nostram there was a most beautiful dialogue between the four soloists and the solo clarinet and the Miserere with its gorgeous pizzicato accompaniment was particularly moving.
Perhaps the choir's Hymn of Praise in that wonderful passage in the Sanctus could have been sung with more 'hushed awe' but this was more than made up for by the beautiful climaxes in this fine work.
Throughout the concert, the four soloists, Diana Gilchrist, Arlene Rolph, Hugh Hethcrington and Roderick Earle - each brought a special quality of musicianship to their singing though, for the writer, the bass, Roderick Earle, was particularly outstanding.
For an amateur orchestra to tackle the 9th Symphony is a bit like attempting to climb Mount Everest without extra oxygen! In the first three movements there were inevitably a few moments of uncertain intonation - especially in the woodwind and places where articulation and ensemble were less than perfect. But the Tonbridge Phil orchestra, brilliantly led by Daniel Weatherley - played with admirable concentration and dedication and it was evident that, under the baton of their conductor, they have made immense progress.
In the Finale, the excitement in the audience was palpable as the full force of the choir and soloists joined in and Robin Morrish drove them through its exacting changes of mood and rhythm to the rousing climax. Such an evening of happy music-making proved to an enthusiastic audience what a thriving musical society we have in Tonbridge.
Joan Croft
Saturday 24 March 2007
Tonbridge School Chapel
An encouragingly large and enthusiastic audience supported this special concert of the Tonbridge Philharmonic society given in Tonbridge School Chapel on Saturday 24 March. A warm welcome was extended to the guest conductor, Sir David Willcocks, who directed with quiet authority, clarity and decisiveness. Sir David's musical career has been both long and distinguished. The vast experience and insight he brought to the choir and orchestra built on the firm foundations laid down by resident director Robin Morrish, and were apparent in the subtle and sensitive ways in which he shaped the music and in the different tonal qualities he conjured up.
The two works by Brahms - the Tragic Overture and the German Requiem - were complementary in mood. Brahms differs from other nineteenth century composers in his understanding of the nature of a Requiem, avoiding the eschatological and promoting serenity and the comforting of the living. Sir David's interpretation focused on this approach by adopting forward-moving tempi and encouraging a radiant blossoming of choral and string tone in the major sections. The beautiful flowing phrases and command of great arching spans in the music demonstrated a true feeling for the meaning of Brahms' chosen tests. Both choir and orchestra rose to the challenge, giving of their best, playing with sensitivity and control and singing with attentiveness to detail and a sincere attempt to communicate with the audience and assure us of both their secure routine training and their ability to respond to a new leader.
The solo parts in the Requiem are relatively short, but Quentin Hayes (baritone) and Sally Harrison (soprano) immediately made their mark, singing with dignity, control and wonderful tone, filling the Chapel with moving sound; this was particularly effective when heard above the choir.
The generous and warm acoustics of the Chapel suited the mood and texture of both works, reinforcing the full string tone, colouring the wind yet still facilitating clarity of expression. The orchestra played throughout with tight, incisive rhythms and flexible, well-shaped melodic lines. Considering the choir is totally amateur and the orchestra mostly so, the standard achieved is commendably high. Balance would be helped by more men in the tenor and bass departments; but this is a widespread problem for amateur choirs. It was a pity that the end of part one of the Requiem was spoiled by confusion in the last pages of the tremendous fugue over its insistent pedal note. This aside, the performers communicated confidence, alertness and total commitment. They obviously felt sympathy with Sir David's interpretation and every individual gave of their best to make this a memorable and spiritually uplifting experience.
The evening concluded with a reception in the Skinners' Library of Tonbridge School at which the Society Chairman, Mike Tonge, and Robin Morrish paid tribute to the hard work of the Society's officers, the highly-skilled, loyal and long-standing leader of the orchestra, Penelope Howard, and the great honour which Sir David had bestowed upon the Society by conducting this very successful concert.
Roger Evernden
REVIEW OF ORCHESTRAL CONCERT
SATURDAY 17th FEBRUARY 2007
St.Stephen's Church
The Tonbridge Philharmonic Society's Orchestral Concert on 17th February will be remembered for a long time by both orchestra and the audience. The concert was directed by guest-conductor, Michael Hitchcock. Hitchcock gave us an entertaining and informative introduction to the programme and it was clear from the outset that he had both orchestra and audience eating out of his hand. The three pieces which formed the programme, Nicolai "Overture, Merry Wives of Windsor", Arutiunian "Trumpet Concerto" and Franck's Symphony In D Minor are little known in the orchestral repertoire but together they created a well-balanced programme full of musical variety and character and were warmly received by a packed audience in St Stephen's Church.
The balance between the instruments and ensemble playing was excellent in the "Overture, Merry Wives of Windsor". The orchestra achieved much contrast in dynamics and tone colour. The quieter, more lyrical sections were played with great sensitivity and Hitchcock worked the orchestral forces to their musical and physical limits in achieving high-intensity musical drama at the close of the work.
The highlight of the concert was Jeremy Clack's performance of the Trumpet Concerto by Arutiunian. The audience knew they were in for a real treat from the opening bars of the music. Clack's playing was exquisite and without musical or technical blemish. The Concerto was first performed in 1950. Although Aratiunian does not actually include Armenian folk tunes in the work one can hear the influences of Eastern European musical culture in the music; the driving dance-like rhythms and melodic ideas based on the pentatonic scale. At times the harmonies and percussive qualities in the music are very close to Shostakovich's compositional style. In the more lyrical sections of the work one can almost hear Jazz influences and the musical style of George Gershwin. This concerto is a show-piece for the trumpet, exploiting trumpet technique to its greatest extremes. It was obvious that Jeremy Clack and the TPS Orchestra had developed a great musical partnership and rapport together. The orchestra sensitively took the role of accompanist when necessary and Clack allowed the orchestral textures to come through dominantly at the appropriate moments in the music. Clack's playing was full of energy and I have never heard such variety of tone colour achieved on the trumpet. It was clear that both orchestra and audience appreciated and admired Clack's musicianship and technical skills. Clack received extended applause from a hugely appreciative audience.
After the interval there was no respite for the orchestra. The Symphony In D Minor by Cesar Franck was as musically and as technically demanding as the music in the first half of the programme. Franck's orchestral compositional output is small (Hitchcock informed us in his introduction that Franck's wife disapproved of him writing for orchestra!) which is a great pity as he clearly had a great creative flair for orchestration and instrumentation. One can almost feel Franck's frustration in this symphony that perhaps he would have liked the freedom to have developed further his orchestral repertoire. Most of Franck's compositional output was vocal writing or solo pieces for organ. When writing for organ the composer treats this great instrument as if it were every instrument in an orchestra (for example the organ has trumpet and flute stops). Franck involves every instrument of his orchestral score in the Symphony. There are beautiful passages in the second movement for cor-anglais and first violins. The ensemble playing in the first violins was excellent (led by Penny Morrish) throughout the work. There was excellent balance between the instrumental entries and a huge range of dynamics was explored. The softer, lyrical passages were treated with great sensitivity and there was tremendous energy in the highly charged sections of the work requiring much musical drama and intensity.
The audience were treated to an evening of high quality music making of a professional level. My congratulations to Michael Hitchcock and the Tonbridge Philharmonic Orchestra. I shall certainly be looking out for Jeremy Clack's next concert engagement!
Jane Walker
LOCAL CHARITY GETS £2,000 PRESENT FROM CAROL FESTIVAL
Local Tonbridge charity, Carers FIRST, is set to benefit to the tune of over £2,000 from the annual Family Carol festival which took place at Tonbridge School Chapel last Saturday.
Chief Executive of Carers FIRST, Ron Alexander, said: "We are extremely grateful to Tonbridge Round Table, the Tonbridge Philharmonic Choir and to the two childrens' choirs - Hillview School and the Cameo Singers - taking part. It was a wonderful day and the two performances were both delightful."
Carers FIRST, based in Tonbridge High Street, provides support to carers of all kinds across West Kent. Also set to benefit is Kent Association for the Blind, whose aim is to provide independence to the visually impaired across Kent. KAB will share equally in the estimated over £4,000 raised by the event.
Richard Ball, Chairman of Tonbridge Round Table, said: "We were pleased to help make the event happen and we're grateful to the Phil for providing such an inspiring performance."
19 Dec 2006
TONBRIDGE PHILHARMONIC SOCIETY
MOZART CELEBRATION CONCERT,
25 November 2006
Tonbridge School Chapel
Tonbridge Philharmonic's decision to celebrate the Mozart anniversary year with an all-Mozart programme was a courageous one, for Mozart's music, so familiar and easy on the ear is notoriously difficult - the slightest imperfections can be all too obvious. For the orchestra especially the challenge was huge. There were to be no easy options in a programme which included the Overture to the Magic Flute and the Haffner Symphony as well as the great Mass in C Minor.
The concert opened with the Magic Flute, instantly demonstrating just how difficult this music can be, and how cruel to the strings where the slightest wobble in ensemble is instantly apparent. That said, conductor Robin Morrish drove the piece through with a keen sense of drama. It was followed by the well-known motet, Ave Verum Corpus. Given that the Chorus were singing this from cold, (this short but exquisite piece being their one contribution to the first half) the pitch could easily have sagged, but not a bit of it: This was a musical high point of the evening, beautifully played and sung, and phrased to perfection.
There was also much to enjoy in the Haffner Symphony: crisp, tight playing in the strings (led superbly as ever by Penelope Howard) in the first movement, and dramatic energy in the last. However Mozart is not all Stürm und Drang - perhaps a more relaxed tempo in the Menuetto and Trio would have allowed more space for the lightness and delicacy of this music to come through?
One of the most tantalising questions in all music relates to the missing movements of Mozart's Mass in C minor. The ravishing Et incarnatus leaves the listener poised awaiting an equally moving Crucifixus, and then&ldots;? Tonbridge Philharmonic's interesting solution to this perennial problem was to complete the work by supplying the missing sections from the Coronation Mass in C, K317. For this listener at least, the change in mood which followed served best to reinforce what an astonishingly powerful work the C Minor Mass is - Mozart at the absolute height of his creative powers.
The operatic nature of the work demands a highly skilled solo quartet consisting of, unusually, two sopranos, tenor and bass. Bibi Heal carried off Mozart's coloratura with ease; Emma Tring has a darker, potentially richer voice, still light in weight, which will no doubt develop in the future. Although it was a pity they were not better matched for the spectacular duet Domine Deus, both gave fine performances, as did the tenor, Hugh Hetherington, (especially in the Quoniam trio) and bass, Stefan Hölstrom.
The Philharmonic's chorus has grown in size and confidence over the years, and in spite of being heavily weighted towards the top (at least 75 ladies!) produced a warm, well-balanced sound, singing with excellent attack and discipline in the opening Kyrie and in the big climaxes of the Gloria and Credo. There were dramatic subito pianos in the Qui tollis and the balance with the orchestra was excellent. Might one suggest, however, that the orchestra be invited to play more delicately when accompanying softer passages, to allow the chorus to sing more lyrically? But that is a minor point - this was a programme which would challenge a top professional chorus and orchestra, and it is immensely to the credit of Tonbridge Philharmonic Society and its conductor, Robin Morrish, that the large and appreciative audience in Tonbridge School Chapel was treated to such a fine evening of music-making.
Charles Vignoles
Orchestral Concert
2 October 2006
Big School, Tonbridge
The Tonbridge Philharmonic Society completed its 60th anniversary season with an orchestral concert in Big School, Tonbridge School on Saturday 30th September. The orchestra has a fairly consistent membership and this was a distinct advantage considering the concert was being presented after only four weeks of rehearsal. A strong sense of teamwork was evident, as was the benefit of working regularly with the distinguished and highly-experienced conductor, Robin Morrish.
The players may be used to working with each other, but the music was far from familiar. The concert began with two works which are rarely played, both being early works of their respective composers, Brahms and Wagner. Although these two giants of the 19th.century German Romantic repertoire were complete opposites in their artistic temperaments, when seen from the perspective of their mature works, these two early works showed less stylistic contrast.
The Serenade in A major by Brahms opened the concert, and presented an immediate challenge to the wind section of the orchestra. Brahms did not include violins in this piece, instead, giving most of the melodic and harmonic content to woodwind and horns, accompanied by violas and cellos - after all, the original Viennese serenades were often written for wind only. The Tonbridge wind team responded confidently and flexibly, with some excellent phrasing and beautiful colouring. Although Brahms set almost insuperable problems for tuning and ensemble, the players tackled them mostly with great success. It was good to enjoy this opportunity for the wind and horns to be in the spotlight, although it would have been advantageous for them to have been in a raised position on the stage. That said, Tonbridge Big School proved to be an excellent venue for both orchestra and audience, and the acoustic was most sympathetic.
The second work was an overture, Die Feen, by a very youthful Wagner. Steeped in the German Romantic operas recently developed by Weber, Wagner here reveals enormous potential, but only occasional hints of what his mature style would be. This is an exuberant and imaginative, albeit somewhat naive work, but it gave the orchestra a chance to show its subtlety and its brilliant power. Robin Morrish demonstrated great sensitivity in shaping the dynamics and structure of the music throughout the evening, but it was in this work that he drew out the glorious tutti of the orchestra for the first time.
The second half of the concert continued to highlight the excellence of the full orchestra. Schumann's Symphony no.3 was a great contrast to the Brahms Serenade - it is a work of his maturity, and it concentrated on presenting the orchestra as a unity of mixed tone rather than a group of soloists co-operating. There were many opportunities to appreciate the wonderful sounds of the heavy brass and timpani, even though Robin Morrish had to restrain their enthusiasm on several occasions. This is a long work in five movements, and Robin Morrish showed his control over pace and direction in a masterly way. The orchestra gained confidence from the solid scoring adopted by Schumann, and this enabled the ensemble to reflect the changing moods of solemnity, introspection and joyful celebration.
This was a fine evening and a tribute to conductor and orchestra as they embark upon their next sixty years of spirited and dedicated music making in Tonbridge.
Roger Evernden
Choral Concert
1 July 2006
Tonbridge School Chapel
Tonbridge should be proud of its Philharmonic Society, which is 60 years young this season, particularly as it is constantly pushing the boundaries of amateur music-making. On Saturday it was, remarkably, the first concert in its history when the Philharmonic Chorus has presented its own concert of a cappella choral music without the orchestra being involved.
When the first notes of Palestrina's sublime Exsultate Deo and Sicut Cervus were sounded in Tonbridge School Chapel, it was like being transported to the lofty setting of St Peter's Basilica in Rome -where Palestrina worked in the 16th Century. Director Robin Morrish drew a full-bodied energy from his forces, encouraging them to shape the glorious arches of melody in a beautifully woven texture. The Tonbridge Phil basses were in fine voice, and the choir had remarkable diction and excellent chording.
Under Morrish's clear direction, the choir stayed in pitch in two pieces by the Spaniard Victoria, a contemporary of Palestrina. Here again the carefully graded layers of sound combined to a stirring and grandiose effect.
With the dramatic events of the World Cup Quarter Final still in our minds, the cosmopolitan and European celebration of music presented in the same evening was a testimony to the diversity of styles and traditions that surround and affect all of us.
Two well-known French choral items, Cantique de Jean Racine by Fauré, and Franck's Panis Angelicus both avoided the slightly cloying romanticism that is imbued in some choral performances. The Phil sang each with loving attention to detail, and a rich opulent sound. Their accompanist, Chris Harris on the Tonbridge School Chamber Organ, played deftly as Morrish urged his performers onwards.
Both halves ended with Baroque pieces, with a small continuo section (two violins and organ). Both gave the choir the opportunity to show off their technique, although in the Buxtehude Magnificat the choir needed to bring the relevatory text to life with more conviction. That said, when they were remembering the Lord's mercy, the choir were particularly perky.
After the interval, Bruckner's Motets were beautifully sung, with excellent light and shade. The climax of the motet Christus Factus Est was moving in its intensity, as was the glorious Russian music by Arensky and Rachmaninov. Here the Phil sang with all the intensity of the Russian Orthodox Church.
The concert ended with the tumbling excitement of Monteverdi's Beatus Vir with the choir at their most vigorous, as Morrish expertly guided them through the constant changes of time and speed.
It was a concert of many moods and expression, but one that settled the soul after the tortures of the afternoon on a field in Germany.
Adrian Pitts
Copies of a CD recorded live at our July 1st Concert, European Sacred Music, are now available. To download an order form click cd.
Choral and Orchestral Concert
27 May 2006
Tonbridge School Chapel
The Tonbridge Philharmonic works hard; there was plenty of evidence to support this last Saturday when the combined chorus and orchestra performed a taxing programme of Mozart, Dvorak, and Holst.
The early Mozart Regina Coeli was not only a good opener but an immediate refreshing combination of texture and spirit. Mozart was perhaps only 16 when he wrote this, a fact omitted from the programme notes sadly, and one which might have added further wonder to the work as a whole. I was struck, as I believe many others were too, by the solo soprano, Lorna Anderson, whose considerable accomplishments were not a surprise to read while also listening to her. It was evident too, that her sound, as well as her control, were of the highest order, again revealed particularly in the Dignare of the Dvorak Te Deum. Roderick Earle too, is a big name in the musical world with a big career in opera and strong associations with both ENO and Covent Garden. The TPS was fortunate indeed to have been able to engage them both. Both had the best vocal equipment for the challenges of Tonbridge School Chapel whose acoustic properties have changed little, I believe, since its rebuilding.
Large buildings of this sort need precision of attack and the TPS is used to having to deal with that: the preparation was clearly intense as was the precision of the conductor's baton. Robin Morrish had wisely decided on 'less is more' as he wonderfully choreographed his explicit and meaningful direction; direction which was clear and expressive. His energy does not seem to diminish, and he was particularly cool that evening as he guided the forces through two big works which may have been giving the chorus some anxiety in rehearsal. The performance came across without any hint of doubt and the reciprocal energy was, as it should be, palpable.
The Dvorak Te Deum was preceded by four of the ten Legends, written originally for four hands at one piano, and orchestrated the same year. Like much of Dvorak's duet music, they are folk-song like, genial and short, often with a principle section and a trio. The choice of contrast for audience and orchestra was a good one, with much characterful and engaging playing. Dvorak's Te Deum was written in the United States and first performed by a chorus of two-hundred-and-fifty singers. The largesse was matched by the boldness of the TPS chorus.
Holst's
Hymn of Jesus was introduced with excellent programme notes by Les
Deacon and we were guided through the text and the music with
authority. What we might not have expected however, was the
extraordinary 'unEnglishness' of this piece. No chorus would take
fright at most choral music of that period but the Holst proves a
challenge on many levels. The semi-chorus of Cameo Singers (Jane
Walker) and the Worthing based JSS Singers (Jan Spooner-Swabey) had a
big responsibility which was evident on their faces and purposefully
conveyed through their committed singing.
The orchestra and chorus here had more to do in a shorter time, more exploitative textures to reveal, more tonal areas to find, more rhythmic diversity to convey and altogether more concentrated attention to give. In their revealing, finding, conveying, and giving they did proud justice to Holst whose difficult piece came across vividly. The conspicuous lack of soloists gives the chorus particularly important role in regards to character and they worked hard to prove their corporate worth here. Any doubts about 5/4 time (I heard them talking before!) were not evident when the time came.
I noticed that the TPS chorus is giving another concert in about four weeks - a concert of unaccompanied sacred music from the 16th century through to Rachmaninov. Get a ticket; too few did for last night...
David Williams
News from the Phil
NEW CHAIRMAN FOR PHILHARMONIC
Tonbridge Philharmonic Society has elected a new chairman. Dr Mike Tonge is 58 and has lived with his wife Rosemary in South Tonbridge since 1979. He has a daughter, Helen, a professional violinist living in Manchester, who occasionally plays with Tonbridge Phil.
Mike is a staunch member of the second violins, having resumed his acquaintance with the instrument a few years ago after a long gap. He recently took early retirement from the Health and Safety Executive and, since retiring, he has qualified as an England squash club level coach and now has a part time second career as a coach, both at clubs and in schools.
He greatly enjoys playing with Tonbridge Phil and is looking forward to taking over at the start of the new season. One of his main aims will be to encourage more young people to play with the Philharmonic. "There are many talented young musicians in West Kent," he said. "This will help strengthen our resources for the future and give younger players valuable experience of playing major orchestral works".
Young instrumentalists can email Mike Tonge at tonphil@btinternet.com.
Choral and Orchestral Concert
25th March 2006
Tonbridge School Chapel
Bruckner motets: Locus iste; Tota pulchra es; Christus factus est
Tchaikovsky: Overture, Romeo & Juliet
Berlioz: Te Deum
The programme for this Spring Concert was highly musically demanding for both choir and orchestra together as one force and as separate entities. It is always a risky decision for a conductor to begin a concert with unaccompanied items for choir. The three Bruckner Motets require tremendous vocal control in terms of musical style, dynamic contrast and unblemished intonation. Yet the choir of Tonbridge Philharmonic Society gave a convincing performance of each of the Motets. The text of "Locus Iste" is a fitting tribute to Tonbridge School Chapel "This place was made by God, A Sacred Place beyond all price. It is without fault or blemish". ("Locus Iste" reminds me very much of the character and harmonic style of Mozart's "Ave Verum").
There was much dynamic contrast in this piece with an excellent balance between each of the vocal parts with eloquent musical phrasing. The second Motet "Tota pulchra es" began with a solo tenor entry. Hugh Hetherington's opening phrase instantly captured the "plainsong" spirit of this motet. The vocal quality was rich and warm with a pure and unblemished legato phrase. Again the choir responded fully to the sudden dynamic contrasts required to communicate the musical intensity that Bruckner intended in his choral writing. There was only one slight uncertain moment in bars 48-51 in the choral entry after the tenor solo. The notes were a little insecure but this can be forgiven as the harmony takes an awkward turn at this point (the tenor solo phrase is firmly in C major and suddenly the choir enter with a combination of numerous sharps, flats and naturals. The harmonic insecurity of this passage recovered immediately the organ entered at bar 53. The third Motet "Christus factus es" is particularly appropriate as we approach Easter. The text is the Gradual for Maundy Thursday. It is longer than the previous two motets and the more substantial of the three. This was a confident performance with much dynamic contrast and vocal colouring. There was excellent balance between the vocal lines and clarity between each part. On page 71 "Quod est super.." here the alto part with its moment of melodic interest and importance came over with a sonorous and pure clarity of vocal sound. It was clear that Robin Morrish had spent much time in rehearsal addressing balance of parts and making sure that each vocal line was in sympathy with another. Overall in these three Motets the diction was excellent and the intimate character and mood of the music was captured. One can imagine these pieces being performed perhaps by a smaller choir and in a smaller venue.
The second item in the programme was for the orchestra alone, "The Overture to Romeo and Juliet" by Tchaikovsky. The entire performance of this work would have done credit to any professional orchestra. From the opening bars of the music it was clear that Robin Morrish was in full command of the performance and he had the orchestra eating out of his hands. Everything we associate with Tchaikovsky's musical style was present in this performance, huge dynamic contrasts, melodies which require in performance musical over-indulgence to convey their romanticism and drama. I was particularly impressed by the perfectly placed notes in the sections of the music written for woodwind alone and the perfectly accurate and articulately placed pizzicato string passages. Robin Morrish had clearly spent much time working on the balance between the instruments in rehearsal. Each section of the orchestra and each instrument within each section firmly understood its role and relationship to all the other parts. There were moments when instruments were in conversation with each other, each taking a more dominant or less dominant role in the development of the Romeo and Juliet story as it unfolds. The orchestra achieved all that Tchaikovsky stood for as a composer writing in the late Romantic period, huge and sudden changes of dynamics, contrast in tone colour and sudden changes in mood and dramatic effect. The attack of the strings, particularly in the cello entries captured the anxiety and confrontation developing in the Romeo and Juliet story. The Brass and Percussion sections came into their own at the appropriate times in the music but equally the Brass and Percussion players were sympathetic to the rest of the orchestra and blended with the other instrumental lines within the texture. The performance of the "Overture to Romeo and Juliet" was equal to any professional orchestra that I have heard play this work. The audience responded to the closing bars of this work with rapturous and extensive applause. A performance which displayed true artistry from both orchestra and its conductor.
After the interval choir and orchestra joined forces in a performance of Berlioz' "Te Deum". This followed the same theme as the Romeo and Juliet Overture - a hugely romantic work full of musical contrast, passion and drama. In Berlioz' "Te Deum" one suddenly becomes aware of the space that can be created in music. Firstly the position of the organ and the orchestra at completely opposite ends of the chapel created a feeling of an expanse of space and distance. Secondly Berlioz is renowned for his use of a very large orchestra and consequently huge textures and diverse contrast in texture in his compositions. The use of highly dense orchestration and in the case of the "Te Deum" three separate choirs in the scoring create a sense of space. It was clear from the outset of this work that the choir thoroughly enjoy singing this setting of the "Te Deum". In the opening few pages all the vocal entries were confident and musically secure. There was excellent balance achieved in the contrapuntal texture of the vocal writing in the opening movement. The end of the opening movement is interesting from a harmonic angle. One would expect one movement to come to a firm close then the next movement to begin afresh. At the end of the first movement Berlioz leaves the choir and orchestra with an imperfect cadence which then leads into the second movement on a chord which resolves to a perfect cadence in B major. The introduction to the second movement is scored for organ solo. This gave the opportunity for us to hear Chris Harris solo. He is the rehearsal accompanist for the choir and it is a rare occasion that a rehearsal accompanist comes into the fore during a performance. In the second movement there was excellent balance between the vocal parts especially between the Sopranos and Altos when they were singing as a duet. In this movement both choir and orchestra demonstrated their understanding of what is required in the music of Berlioz. Both forces achieved the sudden changes in dynamics required to reinforce the dramatic intensity of this music.
The third movement "Dignare, Domine" is completely different in character. This movement is refined, prayerful and deeply lyrical. The sopranos conveyed the change in mood from the outset of the movement. They achieved a pure tone throughout the vocal compass of the melody and sang with a sonorous legato sound. Again the vocal parts were perfectly balanced and in complete sympathy with each other.
The movement "Christe Rex Gloriae" requires tremendous commitment from both choir and orchestra in terms of energy both physical and mental. The intensity of this movement was conveyed straight away from the opening bars "Tu Christe, tu Rex Gloriae". Later in the movement the same theme is used in canon between the vocal lines. Each part entered confidently and with clarity. Berlioz is renowned for sudden changes in dynamics in his scoring. Under Robin Morrish's excellent direction both choir and orchestra achieved the demands of Berlioz' changing dynamics. When working with a large choir and large orchestra it is very hard to achieve soft dynamics. Yet there were some intense moments particularly in the sections of the score marked with very soft dynamics. The balance between the woodwind parts was particularly impressive. Berlioz tests his performers at the end of this movement. Tremendous energy is required not only for singing and playing very loudly but also to convey the rhythmic drive of this music. This movement is a huge "play" and "sing" for everyone involved. It was therefore not surprising that Robin Morrish gave a short break between this and the next movement. It was also musically very appropriate.
The fifth movement is a prayer and the music much more intimate. The short break leading to this movement gave us all the opportunity to prepare for the tranquillity of "Te ergo quaesumus". This movement opens with the tenor solo and for the first time this evening we were able to hear Hugh Hetherington at length. Hetherington has a rich, warm vocal quality suited to the solo writing here. Each musical phrase was refined and unsentimental. Hetherington's high notes were exquisite and effortless. The interjections between the solo tenor line and the Soprano/Alto writing were perfectly placed and flowed seamlessly. At the end of this movement there is a passage for unaccompanied choir. So often amateur choirs have intonation difficulties when unsupported by instruments but here the intonation was unblemished. The clarity of sound and diction was excellent. The "give away" regarding TPS choir's perfect intonation was the final cadence played by the organ!
The final movement returns to Berlioz' robust musical style. The bass entry was confident and grand. Looking at the score this seems to be the most complex section of the entire work. There are awkward entries in the vocal writing and many awkward intervals to pitch at the start of a phrase as well as in the middle of a phrase. The choir clearly new the score inside out and the balance between choir and orchestra was excellent. So often the Brass (by nature the brass section is very loud) drown any choir or orchestra but this evening there was perfect balance between the Brass, Percussion and the rest of the forces employed. Again this movement requires tremendous musical and physical energy. Both choir and orchestra did us proud and I am sure there was not one person on the platform who didn't feel exhausted or uplifted. The performers, Hugh Hetherington and Robin Morrish received rapturous, extended applause from a hugely appreciative audience. This was a momentous performance of Berlioz' Te Deum and matched any performance that a professional choir and orchestra could have achieved. Tonbridge Philharmonic Society is held with high esteem in the local community and most certainly did the audience proud this evening. No choir or orchestra could achieve such a high level of musicianship without an outstanding Musical Director. My warm congratulations to Robin Morrish and to you all!
Review by Jane Walker
*
A Review of the Concert by the Tonbridge Philharmonic Society Orchestra.
Saturday, 18th February 2006
TONBRIDGE BAPTIST CHURCH
DARENTH
AVENUE, TONBRIDGE.
Beethoven, Mendelssohn and Brahms,
It is not often we have two musical directors appearing on the same platform in one evening, but for the second concert in their 60th anniversary season the Tonbridge Philharmonic Society invited Tony Gould, musical director in the 1960s and early 70s, to conduct, and their present musical director Robin Morrish to appear as soloist in a performance of the Brahms violin concerto.
The overture-symphony-concerto format was conventional enough, as were the 19th century works chosen to fit into this structure, but taken together the whole programme placed heavy demands on orchestra and soloist in equal measure. There were plenty of mountains to climb.
But before the music a word about the venue, the Tonbridge Baptist Church. This is an exciting, modern building with many admirable features - good heating and comfortable seating by no means the least of its virtues. The main part of the church is a fine open space unencumbered by supporting pillars, with a mix of absorbent and reflecting surfaces, including angled acoustic screens mounted high in the ceiling, and panels of warm, beautifully laid brick set into the walls.
The result of such care in the design and choice of materials became immediately apparent with the powerful opening chord of Beethoven's Egmont overture. The warmth and resonance of the strings, and the quality and quantity of received sound, would have done credit to many a professional orchestra. It was clear from the outset that here were amateur players well equipped to meet the many challenges ahead.
Tony Gould set a steady, reliable pace that allowed the power and heroism of Beethoven's tragic, brooding score to unfold, page by page, until the brief triumphant climax was reached. A convincing performance that supported in every way Denis Matthews' verdict that the dramatic force of the music Beethoven composed for Egmont and other stage works, heard out of context as absolute music, is 'staggeringly self-sufficient.'
A complete change of mood followed with Mendelssohn's 3rd Symphony, 'The Scottish', in A minor. This was dedicated to one of the composer's most enthusiastic admirers, Queen Victoria, who once described him as a 'wonderful genius ... so pleasing and amiable.' The orchestra made the most of the succession of engaging tunes, especially the woodwind section in the scherzo. The bouncing rhythms and the Scottish snaps were beautifully caught by the strings, and the whole performance had a joyous quality which was quite irresistible, right up to the closing allegro maestoso, which always takes me by surprise. It has a splendid, rolling tune that sounds rather like Auld lang syne out of For he's a jolly good fellow. What a way to end a symphony!
More serious matters awaited our attention after the interval when Robin Morrish took his place for the Brahms violin concerto. The peaks were now more clearly visible and menacing. That formidable opening movement lasting more than twenty minutes, with the fiendish Joachim cadenza. The beautiful but deceptively simple adagio, full of traps for the unwary, and the strenuous gipsy-like finale - why did so many late 19th century composers write concertos nobody could play? One critic said that Brahms had not composed a concerto for violin and orchestra, but a conceto for violin against the orchestra. Even Joachim had his doubts, but his superb technical mastery finally overcame all the challenges, and laid the foundation on which Brahms's great masterpiece now stands.
How much of all this was in Robin Morrish's mind as he went into the attack I cannot say. But from the very first note he achieved a balance between orchestra and solo instrument rarely achieved today, especially in recorded versions in which the soloist is brought too far forward. In this live performance a true dialogue could be heard, sometimes tempestuous and at other times tender, as with Nancy Sargeant's wonderfully sustained oboe playing in the Adagio.
Yes - there were tense moments, passages where intonation was threatened, and where ensemble was not all it should have been. But under Tony Gould's steadfast direction and Robin Morrish's splendid musicianship this was a live performance to cherish. With the peaks safely behind them they stood together on the platform to receive wave after wave of enthusiastic applause. It beat the winter Olympics any day of the week.
Review by Robert Hardcastle
*
CHARITY CONCERT NETS OVER £4,500
First estimates
suggest that local charities will benefit to the tune of over
£4,500 from the two performances of Traditional Family Carols in
Tonbridge last Saturday.
(17 December 2005)
Jointly organised by Tonbridge Round Table and the Tonbridge Philharmonic Society, over 700 local people enjoyed the 34th annual celebration in Tonbridge School Chapel. Two local charities, The Scott's Project, and Relate West and Mid Kent, will share the proceedings, giving them each a Christmas present of over £2,000.
The programme featured well-loved traditional Christmas carols for the audience, special arrangements for the 90-strong Philharmonic chorus, including a new Introit especially written for the occasion by Douglas Gibbs, together with contributions from two local children's choirs.
The performances of the Cameo Singers, conducted by Jane Walker, and the The Hillview Singers, conducted by Marion Pink, were particularly appreciated by the audience. "This was delightful singing of a rare standard by young singers," said conductor, Robin Morrish. "We were also moved by the playing of our new organist and accompanist, Chris Harris".
Angus Campbell, Organiser for Tonbridge Round Table, commented: "Both performances provided a fantastic opportunity to enjoy traditional carols in a marvellous setting and a great time was had by all.
"Our thanks are due to the chorus of the Philharmonic Society as well as members of Tonbridge Round Table who provided all the necessary back up, including the chilly job of supervising the car parking".
*
A Review of the Concert by the Tonbridge Philharmonic Society Orchestra & Choir.
SATURDAY NOVEMBER 26th 2005
CHAPEL OF ST AUGUSTINE, TONBRIDGE SCHOOL
In celebrating 60 years of fine music-making since its foundation, Tonbridge Philharmonic Society chose to present a special performance of Verdi's Requiem in the magnificent setting of Tonbridge School Chapel. Verdi's masterpiece is acknowledged to be an Everest in the choral and orchestral repertoire, demanding huge resources in scale and talent from singers and players alike. Climbing Everest is almost common-place today but the crevasses and glaciers are as dangerous as ever. Likewise with Verdi's great work: woe betide the soloist, choral singer or orchestral player whose preparation has been less than meticulous. No such worries for Tonbridge Philharmonic Society. Under conductor Robin Morrish's superbly controlled direction chorus, orchestra and soloists delivered an outstanding performance.
Verdi's vision of the Day of Judgement in the Dies Irae is one of the most awe inspiring moments in all music and here Robin Morrish unleashed his forces to truly terrifying effect, the chorus easily surmounting the orchestral sound, trumpet fanfares blazing from the organ loft, banshee wails from the piccolo and all underpinned by the (almost literally) stunning percussion section. Tonbridge Philharmonic Society remains rare amongst societies in that it boasts both a chorus and orchestra. Sometimes the chorus can seem to be the lesser partner and problems with balance in this work are not unusual. This was not the case with the Philharmonic's performance: the chorus sang with immense discipline and control - powerful when needed (the basses' first Rex tremendae was astonishing!) but also delivering the text in the pianissimo opening to the Libera Me with absolute clarity and conviction.
Verdi's Requiem is the most operatic of sacred works and makes enormous demands on the soloists. For this special performance the Philharmonic offered a star team. Maureen Brathwaite (soprano) and Susan Legg (mezzo-soprano) were a perfectly matched pair, whose superb ensemble and tuning in the Recordare produced one of the most beautiful moments of the evening, while Jonathan Gunthorpe presented his bass solos with practised authority. The young tenor Tuomas Katajala has an astonishing voice, truly operatic in focus and power and perfect for Verdi's great arias. He gave a thrilling performance in his solo Ingemisco but was perhaps less successful in the ensemble passages. All solo quartets find these quieter and sometimes unaccompanied sections in the Requiem challenging and one such passage gave the only unsteady moment of the evening, immediately following the interval. (Does one need an interval in this piece? I suppose the audience does, if only to stretch its legs, but it's all too easy for the tension to be lost and concentration to dissipate.) But this was only a momentary lapse and things were soon back on track, thanks to the total professionalism of the orchestral leader, Penelope Howard, who was clearly a tower of strength throughout.
The orchestral forces demanded by the Verdi Requiem are colossal but the Philharmonic was well up to the task, with warmly rich strings, beautifully articulated wind playing and impressive brass and percussion. This was indeed a special evening and a worthy start to Tonbridge Philharmonic Society's anniversary season. With a capacity audience of well over 500 and some disappointed people turned away at the door, Verdi's Everest was scaled, not just successfully, but triumphantly!
Charles Vignoles.
Pictures taken on the day of the concert.
*
A Review of the Concert by the Tonbridge Philharmonic Society Orchestra & Choir.
SATURDAY JUNE 25th 2005
CHAPEL OF ST AUGUSTINE, TONBRIDGE SCHOOL
A smaller-than-usual audience was royally rewarded in Tonbridge School Chapel on Saturday by a chorus augmented by the return visit of the Arvoly Choir of Le Puy-en-Velay. If any regular supporters were put off by the slightly austere look of the programme presented by Robin Morrish and his entourage then it is “they of little faith” who were the losers.
The programme began with Saint Saens’ Messe de Requiem, in which the opening two movements, “Requiem Aeternam” and “Dies Irae” immediately offered the conductor the opportunity to test the balance of his widely spaced forces in a variety of dynamics and moods.
With organ at one end and large orchestra, chorus and solo quartet at the other, there is always extra pressure on both organist and conductor, but neither of these fine musicians showed any sign of being affected by the extra concentration required of them. Indeed, organist Pamela Colverson, for whom this was the last concert with the society after many years of energetic and expert service as accompanist, achieved a remarkable symmetry of timing and dynamics which kept the whole ensemble tightly together. The only imbalance occurred in the quartet of soloists, where the rich voice of bass-baritone Simon Kirkbride was over-strong, and the sweet sound of Mezzo Harriet Williams a little too soft. This imbalance remained through all the solo quartet sections.
The choir generally maintained its usual high standards throughout the evening in a programme which was full of rewarding , occasionally thrilling music to sing. Some soft entries were a little ragged to start with, but choir and orchestra appeared inspired by the trombone entry in the Dies Irae magnificently played by Richard Turner. From this moment everyone was lifted to a higher plane of involvement and the work moved and excited us by turn.
The Agnus Dei of this work gave us the one haunting melody to take home, and left us anticipating the excitement of the much more familiar Poulenc Gloria which followed. In this work, the only disappointment was the lack of rhythmic bite in the very first Gloria section. This may have been triggered by the only poor tenor / bass chorus lead of the evening, but thereafter the performance showed us its vital and original use of pithy rhythmic motifs, all decorated by the quite magical sound of soprano Patrizia Kwella. No excess of vibrato; perfect intonation; phrasing exactly suited to the different moods required of the piece, and perfectly executed rising octaves in the Domine Deus; these were the features of an outstanding rendering, ably backed by an ever-improving chorus and an orchestra growing in confidence with every movement.
Reading the lengthy lyrics of Finzi’s “For St. Cecilia”; a flowery history by Edmund Blunden of music’s “Patronic Goddess” and the composers who have written works devoted to her, I felt sure that the concert should have concluded with the Poulenc. How wrong I was !
Finzi is much loved and admired for his chamber music and songs, but the large orchestra and chorus were all taxed by a fast-moving text and music which showed elements of the great early 20th English composers but which had sufficient individual use of harmony and orchestration to capture the attention of every listener from first chord to last. Truth is, that all earlier shortcomings were immediately dispelled by the vitality and richness of choir and orchestra in a performance which matches the best I have heard from the society. The sopranos and tenors of the choir deserve special mention; sopranos for blend and clarity of sound, and the tenors for richness and enthusiasm which stays under control. Surely this is the best tenor section of all local choirs at present. Perhaps they were inspired by the performance of soloist Hugh Hetherington, who was clearly the icing on a cake of rich ingredients. His was a performance of the highest class. High Bb’s effortlessly produced; excellent diction and audience contact, and at one with all the forces around him. The orchestra was a new beast in this work, too, with Finzi’s orchestration giving taxing but highly-rewarding parts to woodwind and brass; opportunities grasped willingly by these sections. To everyone’s credit; especially to Robin Morrish for his tight control, at no time was either the soloist or the chorus drowned by over-exuberance of the players.
Graham Dibbens
*
A Review of the Concert by the Tonbridge Philharmonic Society Orchestra.
Saturday 14th May 2005
TONBRIDGE BAPTIST CHURCH
DARENTH
AVENUE, TONBRIDGE.
The Tonbridge Philharmonic Orchestra was in fine form in a programme of Mozart, Mendelssohn and Beethoven. It settled into the warm and yet crystal-clear acoustic of the Baptist church giving the listener a treat. The standard lamps at the back of the platform suggested something of a chamber music evening, and much of the playing, particularly from the wind group was in that vein.
The large audience was treated to Mozart's bubbling and youthful overture to "Cosi Fan Tutte" (That's what they all do) to set the tone, with a sonorous slow introduction and felicitous Allegro. Director Robin Morrish's clear and animated direction was reflected in the obvious commitment from his players.
This new venue for the orchestra proved to be very successful. Without the aural cloud that sometimes surrounds the orchestra at other venues, the TPO was revealed to be a precise and flexible instrument. With this programme, the audience was treated to a alth of detail. The odd imperfection in ensemble was more than compensated for by the clarity of the part writing.
The next item was the Mendelssohn Violin Concerto in E minor, with Gillian Ripley as soloist. Ripley, who started with a local doyenne of the violin, went to school in Tonbridge, made her way from Kent Youth Orchestras to university and the world beyond, and was in full command of the piece. It would be easy to write of a "local lass returns in triumph" but on this evening, it was true!
The soloist is launched at us after only a few chords, and Ripley's playing took flight. Her sustained playing brought out the lyrical nature of the piece. The cadenza was carefully drawn with a moving intensity. The second subject was relished by the woodwind. There was more poetic and meditative playing in the Andante. Ripley's singing tone and subtle rubato was effortless. The TPO was a subtle and flexible accompanist.
The tricky last movement was exciting, with Ripley's musical gymnastics being matched by an orchestra on their toes and on their metal. Morrish kept his players alert to Ripley's subtle changes of speed, and with only one or two bumps along the way, the piece concluded with an exciting flourish. The burst of applause and shouts of "Bravo" was well deserved by everyone.
The final work was Beethoven's 8th Symphony in F. Here the TPO had their chance to let down their hair. The rhythmic intensity of Beethoven was clearly drawn by Morrish and his players. Much of the music was wittily played with exaggerated dynamics and accents. The motivic writing clear and precisely played.
The second movement, with its clock-like ideas was suitably paced. The clarity of the sound made it easy to pick up the details in the score. The Minuet and Trio from the 18th Century was perhaps a little too straight-laced, but Morrish worked hard to bring out the individual lines and flexibilities of rhythm.
The Finale was very enjoyable. The Orchestra seemed to relax and the music making was particularly notable in this movement. The TPO highlighted the abrupt dynamic and key changes and the seemingly serious second subject again gave way to more humorous playing. The evening finished with an uplifting flourish.
Adrian Pitts
Saturday 19th March 2005
CHAPEL OF ST AUGUSTINE, TONBRIDGE SCHOOL
Bach - St John Passion
Time stood still for a couple of hours in St Augustine's Chapel just a week before Good Friday, the day for which Bach composed his Passion according to St John - a form of job interview the like of which surely has never been seen before or since.
We, the soundbite generation, take for granted easy and immediate access to music in all its forms today. To attend a complete two-hour-plus performance of such a work - yes, including unforgiving pews seating! - takes one into a different dimension of thought and experience, drama and serenity. Thought about the Passion of Our Lord Jesus Christ, drama of the betrayal and subsequent crucifixion, and serene reflection as the drama unfolds in the form of aria, arioso, chorus and chorale, all brought to us through the genius of J S Bach, filtered through two and a half centuries of human experience. How surprised old JSB would be to know that people were hearing, in a different society and age, the music he wrote only to be heard once!
For this listener the evening provided four indelible memories. One, what a fine choir the Tonbridge Philharmonic is. From the first bars of the beautiful little 16th century motet by Felice Anerio that made an entirely apt preface to the Bach, there was present a balance of sonority and weight of choral tone that was satisfying in the extreme at all dynamic levels, coupled with a unanimity of attack and a flexibility of phrasing that speaks volumes about the training of its chorus master. The big nineteenth century choral works make their effect in broad brushstrokes. The real basic qualities of a chorus in terms of balance, diction and phrasing are shown in the four-part choral content of a work such as this.
The second recollection is that of the superbly balanced and contrasting voices of the soloists - six of them, plus two short contributions from members of the chorus. Bach's St John Passion is not a work of ensembles, trios, quartets and the like. No, if ever there was one, this is a work where teamwork predominates, and a match of voices is important for colour and contrast.
The third memory is of the excellence of the continuo players whose contribution was near continuous, and the obbligato soloists, as well as the orchestra led unostentatiously, as always, by Penelope Howard.
Fourthly, the wise guidance and direction of Robin Morrish, presiding over the unfolding drama, keeping it moving where necessary and allowing a magical silence to play its part from time to time - a silence that drew the audience in and allowed no pins to drop in case they should be heard.
In this team performance, certain things need to be acknowledged. Richard Edgar-Wilson's Evangelist narrated the story with conviction, colouring his voice and its dynamics without ever becoming repetitive. Jon English delivered the agonised aria after Peter's denial in ringing stentorian tones, yet a little later sang the long demanding tenor aria 'Behold him! See!' with exceptional tenderness and accuracy of note value and pitch - a highlight.
Simon Deller's soft-grained bass made a totally convincing Jesus, emphatic where necessary, meek where appropriate. The difficult role of Pilate was admirably filled by Toby Barrett, his repeated 'I find no fault in him' clearly delivered without exaggeration, making the poignancy of the drama more intense. The gentle brightness of Bibi Heel's soprano contrasted well with the warmth of Susan Legg's alto, their comment arias beautifully sung - and let us not forget those two un-named bit part players from the chorus, all fulfilled their roles admirably. One of the remarkable aspects of this performance was hearing the various participating voices coming from different points in space, emphasising the dramatic events taking place.
The choir, frankly, covered themselves with glory from the opening agonised chorus, through the rabble-rousing of the crucifixion, to the final 'Lie still, lie still, O sacred limbs'. Robin Morrish's direction of the chorales, forthright, mezzoforte and without exaggeration - they are hymns after all - made of this an uplifting and emotionally charged experience, very necessary from time to time in this day and age. Last, but by no means least, the provision of a forty-page programme book containing words, section headings deserves mention - a major enhancement of the audience's enjoyment. The thanks of all those present go out to all concerned with this timely event.
David Inman
Saturday 19 Feb 2005,
St.Stephen's Church, Tonbridge
Schumann: Overture, Scherzo and Finale
Weber: 2nd Clarinet Concerto
Nielsen: First Symphony
A courageous choice of programme was one of the hallmarks of the second orchestral concert in the Tonbridge Philharmonic Society's season, presented mid-February at St. Stephen's church. It is not often we have an opportunity of hearing a live performance of Schumann's Overture, Scherzo & Finale nor, for that matter Carl Nielsen's first symphony, both of which present many formidable challenges to an amateur orchestra. On the other hand, Weber's two clarinet concertos, of which we heard the second, have been standard repertoire for many years. Both provide a dazzling central showpiece for any concert programme and for any virtuoso performer.
The resident conductor of the Tonbridge Philharmonic Orchestra, Robin Morrish, modestly took a place among the first violins, handing over the baton on this occasion to guest conductor Francis Griffin, who has worked with orchestras and operatic societies throughout south-east England. The structure of the orchestra (thirty strings, ten woodwind and nine brass) presented him with problems of sound balance within the lively acoustics of a church, and I was reminded of the advice Richard Straus often gave to young student conductors, '... never look at the brass: it only encourages them!' However, Griffin's beat was clear and firm; his control of dynamics secure, and his conducting style vigorous and emphatic.
Which brings me to a question I cannot satisfactorily answer, and which is not quite as daft as it sounds. Why choose Schumann's strange, mongrel piece to open a concert on a cold winter's evening? Although the church heating took the worst of the chill out of the atmosphere it was still not enough to warm and relax string-playing fingers, faced with a sustained mezzo-forte opening, or to avoid some stridency in the woodwind.
The result was a shaky and uncertain start, lacking warmth and proper intonation, to a piece which, as I have suggested, has not secured a firm foothold in the concert repertoire. Indeed, one unkind critic who shall remain nameless for the very good reason I have forgotten his name, went so far as to say that this comparatively early orchestral work by Schumann shows 'painstaking workmanship applied to indifferent material'.
It might be objected that it is no part of a reviewer's job to criticise or even to comment on programme building; what really matters is the way in which the players responded to the various challenges. How good, or otherwise, was their performance? To these questions I would answer that under Francis Griffin and the inspirational leadership of Penelope Howard the performance gathered strength and confidence as it went along - a comment true not just of the Schumann item, but of the concert as a whole.
A smaller orchestra was required for Weber's second clarinet concerto with soloist Shelley Phillips, who started her concert career with the Royal Tunbridge Symphony Orchestra and helped to organise the first Tunbridge Wells Music Festival in 2003. She established her authority from the outset with a steadiness of attack, beautifully controlled arpeggios and mellifluous warmth of tone, heard to best advantage in the gorgeous slow movement. But Weber's main concern was to demonstrate the brilliance of his chosen instrument, which he did in the outer movements with a series of saucy impudent tunes, many of which would not have been out of place in a Victorian music hall or circus, tumbling out like clowns one after another. The orchestra provided gentle, good-mannered support at every turn, and clearly enjoyed the performance as much as the soloist and her audience.
Stronger meat followed the interval with the first symphony by the Danish composer Carl Nielsen. It is a work somewhat in the style of Brahms and firmly rooted in the Beethoven tradition, where conflicting musical ideas are eventually resolved in splendid synthesis. The vigorous exchange between the brass and the rest of the orchestra and the sustained energy of the string players, unanimous and crisp in their attack, were among the many strengths of a natural and unaffected performance, for which each section of the orchestra and their guest conductor deserve the greatest credit. This was live music-making at its most compulsive.
Robert Hardcastle
Saturday 27 November 2004
CHAPEL OF ST AUGUSTINE, TONBRIDGE SCHOOL
'Euryanthe' and 'The Swan of Tuonela.'
A new season of concerts by the Tonbridge Philharmonic Society was celebrated with an impressive new format for the programme. The new-style booklet is both visually attractive and helpfully informative. The first part of the evening was devoted to two challenging orchestral pieces. Weber's Overture to Euryanthe set the tone of the evening with accomplished orchestral playing and sensitive direction by the conductor, Robin Morrish. The mood became darker and more introspective with Sibelius's evocative tone poem, The Swan of Tuonela. Whereas the Tonbridge School Chapel acoustic did not help the Weber, in the Sibelius the beautiful muted strings, the quietly disturbing bass drum and the extraordinary melancholy of the cor anglais were ideally placed in this large, resonant space. The solo was played with superb control and haunting tone by Paul Ripley. This was a wonderful performance by conductor, soloist and orchestra.
'A Sea Symphony'
The major work of the evening was Vaughan Williams's A Sea Symphony, featuring two highly accomplished soloists, Natalie Raybould (soprano) and Adrian Powter (baritone). This work sets tests by the American poet, Walt Whitman, presenting a metaphor of the spirit of mankind on its eternal quest for meaning venturing forth into the vast uncharted waters. Robin Morrish was able to shape the structure and draw out the colours of the work to emphasise the contrast between the extrovert, very physical world of life at sea with the introspective, philosophical restlessness of the soul. The constant shifting of focus between the large, impersonal forces of choir and orchestra and, nearer to the audience, the individual personalities of the soloists emphasised this relationship.
Balance between the large orchestra and the more distant, medium-sized choir would always be a problem. Nevertheless, the high standards achieved by the Tonbridge Philharmonic Choir and the obvious sense of friendly collegiality are a good advertisement for other singers in the area to join them. The clear, incisive singing and varied tone colours of this choir contributed much to reducing the problem of forces as much as possible. The climaxes of volume and tonal intensity were huge and overwhelming, but the quiet passages suffered a little from tonal insecurity when at the extremes of the pitch range because each individual singer had to work too hard. This is a challenging work to perform, both in terms of technique and resilience. Although the Scherzo was on the slow side and the broad, philosophical musings of the last movement needed more expansiveness, Robin Morrish was still able to capture the spirit and moods of these two original and evocative movements. His success was especially the result of his attention to details of articulation in the singing. Perhaps the highlight of the evening was the very palpable experience of ecstasy achieved by the two soloists as they gave physical expression to the life of the soul.
Congratulations to all for bringing to life and welding into a unity this vast sprawling musical edifice, and for giving the audience a taste of both the sensuality of musical sound and a vision of the numinous infinite.
Roger Evernden
Saturday 26 June 2004
CHAPEL OF ST AUGUSTINE, TONBRIDGE SCHOOL
'The Creation'
What a marvellous life-enhancing piece 'Papa' Haydn's 'The Creation' is! And how appropriate that Tonbridge Philharmonic Society's performance on June 26th should celebrate the 20th anniversary of their relationship with their German partners in this concert, the Evangelische Kantorei from Heusenstamm in Germany. Conductor Robin Morrish dedicated the concert to the memory of Harold Best, long-term playing member and servant of the Society who passed away in May. What more suitable work could there possibly be to mark these two events than this joyous celebration of the creation of order from chaos. This most popular of choral works is astonishing in the variety and brilliance of its orchestration particularly for 1796, when it was written. The Creation was inspired by a performance of Handel's Israel in Egypt which the composer had heard during one of his visits to London, the text being cobbled together from the Book of Genesis and Milton's Paradise Lost.
As always, Robin Morrish's vigorous, clear and caring direction to orchestra, choir and soloists ensured that the whole performance was precisely paced and never once lost momentum. From the Chaos so imaginatively scored by Haydn in the Introduction, through the great C major shout at the creation of Light, the two magnificent choruses in praise of God which close the first two sections, to the final 'Glory - Hallelujah', the intensity was sustained with no loss of power, either of choral tone or orchestral weight. The large vocal forces - and orchestral! - produced a spine-tingling sound in the 'Heavens are telling' and in the final 'Completed is the glorious work' the successive fugal entries piled one on the other to thrilling effect.
The orchestral playing was fine indeed, enriched by the various solos for the woodwind, the flute in particular sounding quite lovely in the Chapel acoustic. The brass section too deserves mention, especially the horns for their contribution to the many recitative and aria sections.
The three soloists, Archangel narrators and commentators on the Creation were Patrizia Kwella, soprano, Wynford Evans, tenor and Alex Ashworth, bass. They were exemplary in their enunciation of the text; exemplary too, in their wonderfully apt soft singing, making the contrasts in the narrative all the more effective.
Opening the proceedings as it were, Alex Ashworth's soft-grained bass announced the creation of earth and heaven, every word crystal clear, and later in the piece with sufficient extension to go for the low D demanded by '&ldots;the sinuous worm.' The taxing high tessitura of the soprano writing in the first and second parts appeared to give Patrizia Kwella one or two momentary problems, but all reservations were blown away by her exquisite delivery of the opening words of the Adam and Eve duet, breath-taking in its quiet intimacy, drawing everyone in the Chapel into the drama. This followed Wynford Evans's 'beautifully-sung 'Morning' section, introducing some of the loveliest words in the whole work - 'pure harmony descends' indeed. This Uriel sang effortlessly, with even tone from top to bottom, and with a smile in his voice
What a marvellous way to spend a summer evening!
David Inman
SATURDAY 27 MARCH 2004
CHAPEL OF ST AUGUSTINE, TONBRIDGE SCHOOL
Tonbridge Philharmonic Society broke with tradition in its hugely enjoyable March concert in presenting what conductor Robin Morrish rightly described as a Festival of Youth and Spring - an excellently chosen programme which linked Brahms' Academic Festival Overture with Carl Orff's spectacular Carmina Burana and John Rutter's Feel the Spirit.
Youth was a major theme, not least in that the Philharmonic had invited local school choirs to join them for this exciting programme. Given the huge success of the evening and the evident enthusiasm of the young singers it was sad that in the event only two schools felt able to take part, the excellent choir of Hill View School and members of Judd School's choir adding their refreshingly bright tone colours to the soprano sound.
The programme opened with Brahms' Academic Festival Overture in which the composer weaves student songs into a typically tautly constructed whole, - and what a good idea it was to have the chorus join the orchestra for the final resounding Gaudeamus Igitur. This was a splendid start to the evening with the orchestra, excellently led by Penny Morrish, in fine fettle notably in the brass and wind sections.
Presenting Carl Orff's exuberantly secular Carmina Burana, with its at times bawdy and satirical medieval text, in Tonbridge School Chapel, had clearly given the organisers some anxiety. They need not have worried. The work is above all a celebration of the good things of creation and new life, bursting with energy, and the assembled forces gave it their all. Nonetheless the Chapel as a venue for this work is less than ideal for several reasons. Orff saw the work as highly theatrical in nature - he intended it to be danced as well as sung - and it would have helped both performers and audience to have been face to face, as in a conventional concert hall. Even so some formidable electricity was engendered in this performance, so much so that Robin Morrish's baton took wing at one point! Chorus and orchestra pounded out Orff's manic rhythms with huge energy, the Latin text crisply clear, the medieval German forgivably less so. If the gentlemen of the chorus in the drunken frenzy of In taberna quando sumus were ultimately swamped by the overwhelming (and superb!) brass and percussion sections that too was forgivable given Orff's wholly uncompromising scoring. Baritone soloist James Griggs has a lovely voice, not entirely suited to the operatic role of the drunken abbot, but he too gave his all. Soprano Pamela Wilcock added a stunning touch of glamour to the occasion, both vocally and visually, the flame red dress drawing every eye. Her melting singing of In trutina was a joy and we swooned in ecstasy with her in Dulcissime. Here too the string section came into its own with some luscious playing - needed but not always present in the Brahms. The young singers of the school choirs grasped their moment of opportunity as the Ragazzi and sang their solo sections with confidence and conviction.
On paper Carmina Burana appears deceptively simple, much of it being based on repetitive ostinato rhythms, but in performance, managing the rapid switches of mood and tempo are a major challenge for the conductor. As always Robin Morrish marshalled his forces with great skill although a more attacca approach to each new movement might have lent the performance more cumulative drive and intensity.
The second half of the programme, devoted to a performance of John Rutter's cycle of spirituals Feel the Spirit was a delight in every way. Not perhaps Rutter's most original work it nonetheless had all the composer's distinctive trademarks - superb writing for singers, subtle and ingenious orchestration (no problems of balance here) and sheer flare for what will set performers and audience alight. And set alight we were: Margaret Bolt's warm mezzo-soprano delivered the solo roles in the spirituals with moving simplicity, and the orchestra, with Robin Morrish in true Big Band style, swung its way through the jazzier numbers with more than a touch of razzmatazz (star playing here from Paul Ripley's Cor Anglais and Shelley Phillips in the clarinet riffs). Here too the chorus had their moment of triumph - singing at last in English, every word brought vividly to life, they danced (literally at times!) through the swinging numbers, and with tensions and inhibitions finally banished produced a glorious sound as Robin Morrish brought the audience to its feet and the concert to a stomping conclusion in the final chorus of When the Saints Go Marching In.
Charles Vignoles 29 March 2004
Saturday, 21 February 2004
Big School, Tonbridge School.
The Orchestra of the Tonbridge Philharmonic Society filled Big School recently with an attractive programme consisting of music by two masters of the modern orchestra, Berlioz and Tchaikovsky, together with that most romantic of all piano concertos, Schumann in A minor.
Hanlie Martens was the soloist, making a very welcome return to the town; the orchestral leader was Penelope Howard and the conductor was her husband, Robin Morrish, the Society's musical director.
In the 'King Lear' overture by Berlioz cellos and double basses filled the hall with warm, rich sound in their angry opening statement, drawing a beautiful response from Nancy Sargeant's solo oboe in the so-called 'Cordelia' theme. Some lack of intonation from the attenuated upper strings (and it was a very cold evening!) was overcome, and the remaining episodes of this rarely performed piece, with its sudden melodic thrusts and dramatic outbursts, were in turn revealed by Robin Morrish to great effect.
From the opening flourish of the Schumann concerto it was clear that with Hanlie Martens at the Bosendorfer keyboard we were in very safe hands indeed. She gave a beautifully balanced performance that revealed her understanding of the inner secret of this most poetic work: that the piano part is so skilfully interwoven with that of the orchestra it is impossible to think of one without the other. Indeed, at one of those points where the orchestra gives way to the piano, allowing the solo instrument to weave a series of delicate arabesques, I spotted Robin Morrish actually conducting Hanlie Martens - an uncharacteristic but entirely forgivable lapse! Such was the closeness of the partnership in this most satisfying performance, which conveyed the excitement and thrill of Schumann's virtuosity without any loss of his magically poetic inspiration.
All sections of the Tunbridge Philharmonic Society Orchestra seized their opportunity to shine in the major work of the evening, the fifth symphony of Tchaikovsky, a composer much influenced by Berlioz, whose work he greatly admired, and some of whose orchestral effects can be no less terrifying to listen to and to perform. The dark, brooding melancholy of the opening theme, which in various guises dominates the entire work, caught the mood completely, the brass stabbed away relentlessly and the strings responded with a conviction that carried the music forward under Robin Morrish's clear and powerful direction.
Jackie Sanjana handled the legendary horn solo in the andante cantabile with great aplomb and sensitivity. The lilting Waltz reminded us how close Tchaikovsky always is to dance and ballet, while the notorious time-shift in the Finale was negotiated with truly professional skill.
As this powerful and rewarding performance came to its end Robin Morrish waved his conductor's score aloft to acknowledge the enthusiastic applause. As well he might, for the occasion was a triumph for him, a triumph for the Tonbridge Philharmonic Society and a triumph for Tchaikovsky.
Robert Hardcastle
Saturday 15 November 2003
'MAJESTIC BEETHOVEN COMES TO TONBRIDGE'
There can be few works as monumental in scale and conception as Beethoven's Missa Solemnis and it was fitting that this work was given a majestic interpretation by the combined forces of the Tonbridge Philharmonic Society Choir and Orchestra at the weekend. It deals with big issues such as war and peace, and big ideas such as Divine glory and the insignificance of man.
From the opening solid chords of the Kyrie the Choir was in warm and expressive mood. The lovely rich rounded sounds of the basses and the 'altos led into an equally impressive solo quartet. Maureen Brathwaite's fluently soaring voice was particularly effective in the sanctus. Alison Kettlewell's velvety 'alto was well counterpointed with Richard Coxon's heroic tenor. Bass Simon Neal added suitable gravitas to complete a fine quartet.
Coxon's magic spell was cast during a dark and forboding Crucifixus - here the Choir was wonderfully hushed before the joy of the resurrection. Conductor Robin Morrish drawing out the sombre hues of much of this music. In the faster movements he urged his forces on, sometimes encouraging them, sometimes sustaining them in the pages of incredibly high soprano tessitura. The occasional hesitation by the chorus took some of the drive out of some of the fugal writing, but they were carefully balanced and precise nonetheless.
Notable in the Orchestra were the flutes, leading a woodwind ensemble that seemed more at ease after the interval, particularly in the Benedictus. Here too, leader Penelope Howard's solo violin obbligato showed her usual sensitivity for line and dynamic nuance. Morrish drew some incredibly quiet sounds from his orchestra in the dramatic Agnus Dei as well as coaxing his combined forces to a marvellously climactic Dona Nobis.
The Missa Solemnis is undoubtedly a challenge to amateur forces, even those as good as this, but it is reassuring that generations of performers seek out its message of hope, as it still has much to say to our 21st Century lives.
Adrian Pitts
Saturday 14 June 2003
Most musical audiences are familiar with the tradition, albeit an over-simplified one, that Handel adapted to the waning fashion for Italian opera in mid-eighteenth century London by taking up the composition of oratorio aimed at the growing artistic confidence of the middle classes. For those only really acquainted with Messiah, a typical amongst Handel's oratorios, the fact that Handel simply transferred the conventions of opera from the stage to the oratorio in the concert hall may come as a surprise. Messiah emphasises spirituality, but most of Handel's oratorios, Solomon included, exhibit all the characteristics of operatic theatricality.
It is against this background that the tremendous success of the Tonbridge Philharmonic Society's concert on 14 June 2003 (fortuitously, exactly 255 years to the day from the date when Handel finished composing Solomon in 1748) is best appreciated. As the conductor, Robin Morrish, so aptly ended his very helpful introductory programme note, 'Above all, Handel is a brilliant dramatist'. The choir was at full strength, augmented by the Arvoly Choir from Le Puy-en-Velay - truly reflecting the cosmopolitan atmosphere of Handel's London. It was an imaginative stroke of programme planning to couple the work with the Coronation Anthem Zadok the Priest. Zadok is a catalytic, if essentially enigmatic, character in both works, and, of course, both works are appropriately respectful of monarchy - in ancient Israel, Georgian England and even in 2003.
The solo voices were represented by both professionals and amateurs. David Clegg's superb counter-tenor voice resonated around the beautiful spaces of Tonbridge School Chapel, its ethereal quality matching both the archetypal nature of the characterisation and the eighteenth century operatic convention of using a high male voice in the role of the hero. His beauty of tone and expressivity of line and phrasing were complemented by a highly dramatic presentation in terms of gesture and communication with the other solo characters. It was a great credit to the three sopranos from the choir (Helen Page, Eileen Best and Janet Thompson) that when they stepped forward (Janet Thompson, as the Queen of Sheba, even arriving from the choir through the orchestra to the front during the eponymous sinfonia) that their performances really did blend with the professional voice of David Clegg. In fact, the interaction between the solo characters was one of the most pleasing aspects of the evening, adding a welcome visual dimension. The narrative was supplied by Paul Thompson, singing Zadok. His fine tenor voice and expressive countenance caught the emotional twists of the narrative and contrasted well with the regal demeanour of David Clegg's Solomon.
However, in many respects Handel places the heart of the work with the chorus. The choir, frequently split into effective stereophony, gave a strong and confident performance of these great choruses. Robin Morrish had worked hard to allow the choral voices to express the drama. The choir responded with alertness, their effects ranging from stirring surges and martial declamation to movingly dissonant melodic lines lamenting the tragedy of war. Throughout, the choir demonstrated flexibility of style and tone, responding fluently to Robin Morrish's direction. Choir and orchestra were accompanied by the Tonbridge Philharmonic's orchestra. The continuo playing was subtle and imaginative, whilst solo oboes and bassoon provided a colourful and pliant Baroque foil to the stylish strings.
With the exception of a tendency to allow breaks between movement which were slightly too long to preserve the dramatic continuity, the Tonbridge Society's presentation of this fine work reflected the high degree of musical planning and imagination on the part of Robin Morrish. His personality and technique easily enabled him to realise his vision from his responsive and articulate musicians. This performance, merging music and drama, amateur and professional, great rhetorical gestures and intimate emotion, truly captured the spirit of Handelian oratorio - a triumph indeed.
Roger Evernden 15.6.2003
*
Review of our last Orchestral Concert
Tonbridge Philharmonic Society,
conducted by Robin Morrish
The River Centre, Tonbridge, 17 May 2003
It was a gala occasion earlier this month when the Tonbridge Philharmonic Society, under their musical director Robin Morrish, gave an inaugural concert in aid of the Royal London Society for the Blind, in the outstanding new River Centre on the banks of the Medway in Tonbridge.
This impressive glass-fronted building has all the latest conference equipment and facilities, including an air-conditioned auditorium capable of seating audiences of up to 750. There are no supporting columns, which means clear sight lines to the platform from every seat. The fully-carpeted floor, gently curved ceiling, carefully chosen surfaces and a simplicity of line throughout, all help to produce a sound which is clearly focused, with just a touch of rewarding reverberation.
These are acoustic properties not be found in most local public buildings, so although this new River Centre is neither a theatre nor a concert hall as such, it is nevertheless an important addition to the venues now available in our area. I hope to hear many more small-scale musical performances here in the future.
Popular classics were chosen for this unique opening event, which included music by Grieg, Schubert, Mascagni, Brahms, Prokofiev and Johann Strauss, with two more substantial works by Dvorak - his Romance for violin and orchestra, in which the leader of the Tonbridge Philharmonic, Penelope Howard, played the attractive solo part. Also in the programme was Dvorak's Cello Concerto, with Eric Martens as the soloist, who gave a sensitive and well-judged performance of this popular work.
Robin Morrish conducted with the energetic clarity we have come to expect of him, and he drew from his well-trained musicians some delightful orchestral playing, especially from the wind section, who dealt with their often demanding parts with an assurance and a pleasing warmth of tone.
22.5.03 Robert Hardcastle