Oomph and Excitement! Horsham Symphony Orchestra concert review by Luca J Imperiale

Performing in the Hawth Theatre, Crawley, against a backdrop of brilliant stars, Horsham Symphony Orchestra presented a concert over-flowing with hosts of diverse and spirited characters, each different and purposeful in their own sense, and each resolutely set to project the underlying effect of the three respective pieces being performed.

Opening with Shostakovich’s triumphant ‘Festive Overture’, we were greeted by a rapturous fanfare, grand and powerful in nature; this motive with all of its symphonic poise eventually gave way to a more pastoral theme played by the HSO with characterful gaiety. These pastoral undertones were in no way despondent to the later Stravinsky piece, Petrushka, in which this wonderful foreshadowing contributed to the dramatic climax of the concert. By the end of the piece, a tremendous air of oomph and excitement could be felt.

Solemnly set, an equally powerful piece began to sound. Rachel Ellis, concertmaster of the HSO; teacher; advocate and promoter of music to the youth, performed Bruch’s ‘Violin Concerto No.1’ as soloist. The orchestra, whose rich and muted hues were imparted to us with grace and affection, melded beautifully with Rachel’s deep and sonorous tones, who also displayed much skill and integrity while traversing the florid and ornate idiomatic runs. In the second movement in particular, Rachel delivered each line and phrase with such songlike quality, culminating in an outwardly summation of hope and bliss. In an all-frivolous manner came bounding in the joyous third movement. The chemistry between Steve Dummer, conductor, and Rachel Ellis was very apparent, lending to us a wonderfully charming end to the first half of the concert.

‘Petrushka’ – a ballet so detailed in narratorial nuances as it is in rhythm, orchestration, and instrumentation – was performed as the final piece of the concert. Despite the challenges of this piece, for which there are many, the orchestra managed to conjure the vivid imaginings of the tale wonderfully, all of course through the meticulous choreography of maestro Steve Dummer’s baton. The excited buzz, hum and murmurings of the rural market welled up and out of the orchestra, filling all of the concert hall: we were carried along by the music for the entire story, slowly discovering the surface innocence and happiness to be posing as a rouse for darker narratives. Mention should also be given to Rachel Fryer whose delightful and characteristic piano playing gave even more soul to the piece.

Luca J Imperiale