Concert, Sunday 14th November 2004

Quality music is no surprise

A new season began with a set of surprises as the orchestra maintained its tradition of exciting programming combined with accomplished musicianship. As ever the stage was packed with musicians and the auditorium packed with concert-goers who were not disappointed by a programme - drawn from the late 19th and early 20th centuries - which was full of interest and executed in style under the direction of James Stobart.

The stirring notes of Finlandia depicting the nationalist fervour of Sibelius's music gave the concert a powerful opening, paving the way for Dvorak's Violin Concerto featuring award-winning Laurence Jackson who has forged a career both as a soloist and a chamber musician. He demonstrated his skills in a work demanding great delicacy and sensitivity with its lyricism and Bohemian charm, building up to a series of vigorous folk dances in the lively finale.

The subtleties of Dvorak contrasted starkly with the ear-splitting sounds of Shostakovich's tenth symphony written in the sombre atmosphere shortly after Stalin's death. Stobart gave full rein to the menacing power of the music reflecting injustice and persecution, and exploited the composer's lighter touches which make his works so exciting.

Alison Croose, "Eastern Daily Press", Monday 15/11/04.

Concert, Sunday 16th May 2004

Tra is outstanding as NSO delights

Born in 1885, George Butterworth was one of the bright lights of musical composition in that era but tragically, like so many others, that light was extinguished by a sniper's bullet at the battle of the Somme in 1916. His rhapsody, A Shropshire Lad, which opened the Norfolk Symphony Orchestra's concert at Lynn Corn Exchange, demonstrated just how brightly the light shone. Inspired by a poem by A.E. Housman, this was composed when Butterworth was aged just 27. It is, however, a work of great maturity, and the NSO captured its melancholy and poignancy with playing that was to set the standard for all the concert.

Rachmaninov's 2nd Piano Concerto is almost certainly the world's most popular. The work is very Russian in character, with the broad, rich melodies known by almost everyone. Soloist, Vietnamese Tra Nguyen, gave a performance that was outstanding in every way and I can do no better than quote remarks from the programme: "Rich with poetry and lyricism, Tra's touch is profound, subtle, and at the same time deeply intellectual." Conductor James Stobart drew rich-toned sonorities and outstanding ensemble playing from the orchestra. Such was the ovation from the virtually capacity audience that the pianist returned to give an encore; a delightful prelude.

As a lover of Borodin's music, I don't know what to say about his second symphony. I have never heard it before and some professional players present said they had never played it. Again, very Russian in nature, it also places great demands on the orchestra in all sections - demands to which all responded with great discipline and tonal quality.

The concert was a great credit to all performers.

David Johnson, "Lynn News", Friday 21/05/04.

Concert, Sunday 14th March 2004

Brahms and Bartok Treat

This was a concert of two halves which demonstrated the pleasures of clever programming. After a display of splendid young talent - pianist Sarah Beth Briggs - there was a risk that the audience might wonder: "How can they follow that?" But then along comes Bartok, represented by his Concerto for Orchestra, and the delights of the first half could be savoured without spoiling the second.

Sarah Beth Briggs made her mark on classical music when, at the age of 11, she became the youngest finalist in the BBC Young Musician competition. She is now an established performer. Brahms' Piano Concerto No 1 provided the vehicle for her impressive power and sensitive interpretation. As ever conductor James Stobart ensured the cohesion of soloist and orchestra.

This achieved, he admitted in his programme notes to falling for Bartok as a student. No wonder the orchestra delighted the audience with a stunning performance of the Concerto. It was challenging, amusing and beautiful - a real treat.

Alison Croose, "Eastern Daily Press", Monday 15/03/04.

Concert, Sunday 9th November 2003

A policy of engaging outstanding young soloists continued to prove inspirational with the appearance of violinist Min-Jin Kym. This child prodigy, who began serious studies at the age of seven, was only 15 when she became the youngest student awarded a foundation scholarship at the Royal College of Music.

At 25, Min-Jin appears with top orchestras around the world. But the Norfolk Symphony Orchestra, which includes vast expertise while nominally retaining amateur status, is never overawed by such burgeoning talent and got on with the job of ensuring its performance was worthy of supporting the soloist. The musicians responded to Min-Jin's skills with a fine performance of the Sibelius Violin Concerto. The work makes great demands on the violinist's technique in many highly complex passages while conductor James Stobart created a successful partnership between soloist and orchestra.

In contrast with the intensity of the concerto were two refreshingly different works. The overture was Tintagel, by London-born Arnold Bax, which painted an atmospheric picture of the Cornish landmark. The concert ended in great style with Rachmaninov's exhilarating Symphonic Dances with all their exciting melodies and rhythms.

James Stobart ensured the orchestra transmitted all the warmth and feeling of a work which enabled each section to show off its talents.

Alison Croose, "Eastern Daily Press", Monday 10/11/03.

Concert, Sunday 18th May 2003

Outstanding performances

Continuing its policy of pushing out the musical boundaries for players and audiences alike, the central work was Bartok's Piano Concerto No 3, written in the last year of the composer's life with the final 17 bars unfinished to be completed by others. Owing to the indisposition of Lora Dimitrova, the soloist was Australian pianist Louisa Breen. She gave an outstanding performance of this demanding work. The orchestra and soloist rose to the challenge in the contrasted and intriguing movements, moving from beautifully relaxed strings accompanying the delicate solo line, gradually building up to a vigorous final movement. Such was the tumultuous response from the audience that we were given an encore - a movement from Bartok's Dance Suite for solo piano.

Verdi's Force of Destiny Overture opened the concert in a performance that can only be described as magnificent.

It is often said that the backbone of any good orchestra is the string section. Never was this more so, most notably in the final work - Brahms' Symphony No 4. Conductor James Stobart imbued his players with such warmth and enthusiasm that this was a rendition which left the listener with a warm glow, despite the conductor entering on crutches following an accident and conducting from a chair, neither inhibiting him in any way.

David Johnson, "Eastern Daily Press", Tuesday 20/05/03.

Magnificent performance from the NSO

On previous occasions I have remarked that it does not seem possible that the Norfolk Symphony Orchestra is not a professional body. This view was reinforced from the opening chords of the first work in their concert at Lynn Corn Exchange, the overture to Verdi's The Force of Destiny. Such was the quality of tone and unanimity of ensemble, in a performance that can only be described as magnificent, and which set the standard for the remaining works of the concert. With Bartok's Piano Concerto No 3, the orchestra continued its policy of pushing out musical boundaries for both players and orchestra.

BRILLIANCE

The success of this must be judged from the tumultuous response from the audience, following a performance of great sensitivity and technical brilliance from young, Australian pianist Louisa Breen (replacing an indisposed Lora Dimitrova). Her articulate fingering was breathtaking in this demanding work. Conductor James Stobart drew outstanding playing from his forces, as he moulded soloist and orchestra into a seamless entity, and certainly made me wish to hear the work, and the artist, again.

The generally held view that the string section is the backbone of any good orchestra was reinforced in the playing of Brahms' Symphony No 4. This work has not always been universally popular, but James Stobart imparted such warmth and enthusiasm to the orchestra that the performance left the listener glowing.

All this was achieved despite the fact that, following an accident, the conductor entered on crutches and conducted from a chair. This in no way inhibited him or players!

David Johnson, "Lynn News", May 2003.

Concert, Sunday 16th March 2003

Sophia provides a real treat

Every NSO occasion incorporates a very special treat, and this time it was the performance by Sophia Rahman of a Shostakovich piano concerto. She won many admirers at last year's Lynn Festival and it was good to have the opportunity to witness the highly talented young player interpreting the second piano concerto with such brio.

Sophia looked so business-like but also displayed an infectious enthusiasm which had great emotional impact.

The style of the work demands immaculate technique but equally important is the ability to translate bold melodies and soulful melancholy. Under the direction of James Stobart the orchestra played with great discipline, never displaying its unified force better than in Dvorak's Symphony No 6 with its rich harmonies and invigorating rhythms. The work is not often performed and the audience clearly welcomed the chance to indulge in its pleasures.

A thoroughly entertaining occasion was completed with the musical pictures painted by Strauss in his folk tale, Till Eulenspiegel. The German peasant's adventures proffered the excuse to listen to some bold orchestration.

Alison Croose, "Eastern Daily Press", Monday 17/03/03.

"Pushing back the boundaries of the repertoire for both players and orchestra" was how conductor James Stobart described Sunday's programme.

In the opening piece, the tone poem Till Eulenspiegl, Richard Strauss catalogues the merry pranks of the son of a German peasant from the opening Once Upon a Time theme, until, ultimately he pays the price of his mischief on the gallows. In it Strauss employs larger orchestral forces and virtuoso orchestral requirements than had previously been the norm. The NSO rose to the challenge as they gave of their all in a thrilling performance.

Shostakovich's second piano concerto was written as a 19th birthday present for his son Maxim. This is a showpiece work with the two lighthearted outer movements contrasting with a melodious slow movement. Making a welcome return after appearing in last year's Lynn Festival, soloist Sophia Rahman displayed a formidable technique and her sensitive fingering, notably in the slow movement, produced a performance which was a sheer delight.

The concluding work was Dvorak's seldom-heard Symphony No. 6. This is a piece full of melodic invention, rich harmonies and invigorating rhythms, not intellectually demanding but immensely enjoyable. Throughout the players responded to James Stobart's direction, bringing out every nuance and colour of the work.

As I have remarked before, it is difficult to accept that the orchestra is made up almost entirely of amateur musicians, such is the quality of their commitment and playing. Sunday's concert was of a very high order!

David Johnson, "Lynn News", Tuesday 25/03/03.

Concert, Sunday 17th November 2002

Third visit by violinist brings double delight

NSO began its new season with a double treat - a display of virtuosity from a young British violinist and a symphony which is a tour de force in the classical repertoire. It was the third time this year the talent of Nicola Loud had been enjoyed at Lynn. Having stood in at short notice for the NSO last spring, she appeared at Lynn Festival and yesterday returned to complete a hat trick of successes.

Nicola was BBC Young Musician of the Year when she was 15 and now at 26 her musical skills ensure she is much in demand on the world stage. Tchaikovsky's well-loved violin concerto was the vehicle with which she demonstrated her talents, especially in demanding solo passages. Conductor James Stobart achieved excellent balance so the orchestra complemented her performance. NSO had its own mountain to climb in tackling Mahler's monumental first symphony, and Stobart had to summon all the orchestra's resources. Together they succeeded in expressing all the emotion and intensity of the music.

Alison Croose, "Eastern Daily Press", Monday 18/11/02.

Too difficult? Not for Norfolk Symphony Orchestra

The opening concert of the Norfolk Symphony Orchestra's 32nd season was given at Lynn's Corn Exchange, under musical director James Stobart, with Nicola Loud as soloist in Tchaikovsky's Violin Concerto. This was dedicated to Leopold Auer, who declined to give its first performance declaring that it was technically too difficult. Nicola Loud obviously did not find this to be the case, giving a performance of great maturity, with a clear pure tone throughout. The work got off to a somewhat steady start but after the orchestral entry it gathered pace, with soloist and orchestra displaying great unanimity. Tchaikovsky was a consummate tunesmith, never more so than here, and this dazzling rendition brought out the melodic contribution of all sections to support the soloist.

The second half of the concert consisted entirely of Mahler's Symphony No 1, not a work with which I am familiar, but one in which the composer appears to have been influenced by Beethoven and others. Throughout it was demonstrated what a master of orchestration Mahler was, additionally giving clear instructions on how certain effects were to be achieved - for example, the horn players being asked to stand so their fanfare carried over the strings. Each section of the orchestra responded to James Stobart's demands with superlative playing.

Only four professional players were brought in to bring the orchestra up to its strength of over 90, but I would not have been surprised if the reverse was the case. Surely they have never played so well? Prolonged applause and repeated curtain calls rewarded performers at the end of the concert. They must have been exhausted - the audience was.

David Johnson, "Lynn News", Friday 22/11/02.

Concert, Sunday 7th July 2002

That's great entertainment

It was very fitting that the orchestra should conclude its season with a symphony entitled "The Great' - for that adjective aptly summed up the entertainment. It also described the quality of the concerts throughout the NSO's 31st season, and despite the demands of the programme the orchestra excelled itself. Schubert's ninth symphony is "great" in every sense, not least its demanding 50 minutes' duration. The first three movements afford numerous symphonic delights, but it is the finale which turns it into a marathon. The repetitive three-note theme, interspersed with reminders of earlier melodies, builds up to a frantic pace. But musical director James Stobart's control of the orchestra ensured the work did not overpower the musicians and enabled the solo contributions of the oboe and flute to shine through. As always, the orchestra's infectious enthusiasm was shared with the audience, well-illustrated in another "great" aspect of the concert - the appearance of Richard Harwood as soloist in Dvorak's Cello Concerto. Having witnessed the 22-year-old's virtuosity it is no surprise to learn he is gaining world- wide renown. His performance was a delight.

Alison Croose, "Eastern Daily Press", Monday 8/07/02.

GREAT! Great! Great! This thrice-repeated word sums up the Norfolk Symphony Orchestra concert at Lynn Corn Exchange. Great music! Great playing! Great concert!

Dvorak's Cello Concerto made up the first half, with 22-year-old Richard Harwood as soloist. He is widely regarded as one of his generation's leading musicians, having been described as the best cellist since Jacqueline Du Pré. On the evidence of Sunday's performance, I certainly would not dispute this. His impressive technique and clarity of fingering brought out the lyricism of the solo writing with superb tone, while the orchestra, conducted by James Stobart, accompanied sympathetically as the conductor drew from his forces every nuance of the composer's rich orchestration. The repeated calls and tumultuous applause brought Richard Harwood back to give an encore, the unaccompanied Sarabande, by J.S. Bach.

Schubert's Symphony No. 9, appropriately subtitled The Great, made up the second half. The standard of playing improves at every hearing and this was evident as James Stobart drew from them playing of a high order and commitment to achieve the results that he desired. The final movement required the utmost concentration from all the forces as the work was brought to its conclusion, with both players and audience exhilarated and exhausted. Particular praise must be accorded to various sections of the orchestra for their solo passages, with the strings underpinning the whole orchestra in the final movement with the almost endlessly repeated triplets.

David Johnson, "Lynn News", Tuesday 16/07/02.

Concert, Sunday 12th May 2002

The NSO's large and loyal band of supporters were captivated by the latest in an impressive line of talented young soloists at King's Lynn Corn Exchange. Vietnamese-born Tra Nguyen gave a powerful performance of Rachmaninov's emotionally-charged 3rd Piano Concerto. She thrilled the sell-out audience with an exhibition of scintillating technique - and her enjoyment of the work was obvious. Her interpretation of the piece encapsulated its diverse emotional content as she balanced both strength and subtlety of the music which ranged from the melancholic to the rapturous. Conductor James Stobart ensured the orchestra made its significant contribution.

Despite the energy of the first half of the programme there was no anti-climax when the strains of Symphonie Fantastique by Berlioz took over. The composer's innovative method of expressing his romantic notions made for an exciting experience with the movements set out as the episodes of an instrumental drama. Dramatic it certainly was, with each section of the orchestra - especially the brass, woodwind and percussion - given distinctive roles to play. Their achievements were rewarded with an ovation which could also be described as fantastic.

Alison Croose, "Eastern Daily Press", Monday 13/05/02.

Concert, Sunday 10th March 2002

It's an ill wind, as they say, which brought rising star Nicola Loud to Norfolk where the young violinist impressed with a spirited performance. She stepped in at short notice when Xue Wei had to pull out because of injuries sustained in a car accident.

Nicola Loud, who became BBC Young Musician of the Year when she was 15, is enjoying an exciting career which will see her return for this summer's Lynn Festival. The orchestra, as ever in the very sure hands of musical director James Stobart, opened with Elgar's Overture Cockaigne before Nicola Loud captivated the large and appreciative audience with her artistry in Bruch's Violin Concerto. From the opening flourish of the solo violin to the energetic finale she gave an exciting interpretation of the familiar and cherished work. Bruch's romantic melodies were a relaxing prelude to the rigours of Shostakovich's First Symphony, the product of another burgeoning talent. The composer was only 18 when he wrote the work. It proved to be a blueprint for ideas repeated throughout his music which is demanding both for musicians and audience. The technicalities of the dramatic piece were sensitively controlled by James Stobart to produce a memorable performance.

Alison Croose, "Eastern Daily Press", Monday 11/03/02.

Nicola's talent shines through, Loud and clear

STEPPING in at short notice to replace an injured Xue Wei, Nicola Loud was the soloist in Bruch's Violin Concerto No 1 in the Norfolk Symphony Orchestra concert at Lynn's Corn Exchange. At 15 she was BBC Young Musician of the Year, and now has a burgeoning career, appearing with many British and foreign orchestras and still aged only 26. Bruch No 1 is arguably the best-known and best-loved of all violin concertos, having been played and recorded by all the great violinists in living memory. It is, therefore, a great challenge for one so young.

SHEER BLISS

Nicola Loud met this challenge head on and gave a performance of great distinction, displaying an outstanding technique with consummate musicianship, being completely immersed in the music. Her tone was sheer bliss and her phrasing seamless... The overall beauty of the performance coupled with the beauty of the soloist to entrance ear and eye. Throughout, conductor and orchestra were as one with the soloist. The concert had opened with Elgar's Cockaigne Overture..... We were carried through a musical tapestry of Edwardian London, with its glimpses of a military band, street-corner Salvationists and the tranquility of London's parks, before the somewhat sprawling work ended with the return of Elgar's Noble Theme and a triumphant flourish.

AVANT GARDE

For the second half the orchestra eschewed the standard repertoire by playing Shostakovich's First Symphony. This was composed when Shostakovich was an 18-year-old student, displaying a maturity belying his youth. Even today it appears somewhat avant garde. It opens with 'statements' from various orchestral sections before the entry of a jolly 'bouncy' tune. Throughout, there were many rhythmic 'conversations' between the sections (including a piano) percussion being much in evidence. Towards the end its Russian character emerged - and did I detect Tchaikovsky's influence? All the orchestra was very involved with solos from several section leaders. As is the case with much modern music the work seemed to me not to finish, just stop. This was my first hearing of the work, and I found it full of invention and never lacking interest.

David Johnson, "Lynn News", March 2002.