Huddersfield Philharmonic Orchestra
Archive reviews
- 2003/2004 season -
November 2003 - Butterworth, Dvorák, Sibelius
February 2004 - Elgar, Bruch, Dvorák
April 2004 - Glinka, Khachaturian, Rimsky-Korsakov, Brahms
Saturday, November 15th, 2003
"... A memorable new work"
Concert review by Patric Standford, Yorkshire Post
Arthur Butterworth, 80 this year, is as vigorous a composer as ever, a notable musical voice of the West Riding, and for 30 years the conductor of the Huddersfield Philharmonic.
It is appropriate that they should take responsibility for the first performance of his most recent work Mill Town, a vivid portrayal of of a northern industrial town, the strings sweeping like smoke clouds over the clattering machinery of woodwind and brass.
As night falls, haunting clarinets wind their way through the dark streets and out again into the vivid colours and activity of industry.
It is good to hear again in Butterworth the product of sound symphonic thinking and technical mastery. Mill Town is a symphonic poem that deserves many more outings.
Natalie Clein was the powerful soloist in Dvorak's Cello Concerto, showing remarkable control over and sensitivity to phrasing and musical detail, yet she seemed disadvantaged by the sheer weight of the accompaniment which, especially in the first movement, the young guest conductor Robin Newton seemed unable to balance.
But, in spite of the need for a refining hand at the helm, the orchestra presented a challenging programme admirably, and introduced us to an impressive cellist and a memorable new work.
Saturday, February 7th, 2004
"Atrocious weather ... large audience"
Concert review by Adrian Smith, Huddersfield Examiner
The appearance of Venzuelan-born Natalia Luis-Bassa, the Phil's latest guest conductor, must be one reason why despite the atrocious weather this concert attracted a large audience.
Her clear and expressive beat and vivacious platform manner made an immediate mark in Elgar's Cockaigne Overture.
If the more reflective sections stagnated a little, conductor and players delivered the work's bustle, swagger and melodic sweep to brilliant effect, culminating in a truly "nobilmente" ending much enhanced by the optional organ part.
Violinist Jack Liebeck, undoubtedly a rising star, was the soloist in Bruch's Scottish Fantasy. It's an uneven piece, often merely treading musical water and stodgily orchestrated, but it could not have been better served than by Liebeck's sweet tone and fluent bowing; and he tossed off the pyrotechnics of the finale (much the best movement) with nonchalant ease.
The concert was notable throughout for fine woodwind solos, but the wheezy intonation and attack of the woodwind chorus was another matter.
This marred an otherwise persuasive account of Dvorak's New World Symphony. The strings (especially the violas) acquitted themselves with distinction as, though occasionally a touch strident, did the brass.
I understand that the Phil is at long last to appoint a permanent conductor. Should Ms Luis-Bassa be the favoured contender I can well see why.
Saturday, April 17th, 2004
"a fine partnership..."
Concert review by Adrian Smith, Huddersfield Examiner
In a roll-call of today's outstanding English pianists Benjamin Fith's name might not immediately spring to mind, but his towering account on Saturday night of the Brahms Second Piano Concerto most certainly puts him in that august company.
In a typically cogent programme note, Arthur Butterworth pinpoints the work's great strength - its sustained development of fertile musical ideas within a framework of classical restraint.
But Brahms was a pianist (and, in his youth, a pub pianist at that!) and, for the soloist, restraint is frequently tossed to the winds.
So, while Frith knew exactly when to adopt a subordinate role in the unfolding symphonic argument, he revelled in its virtuoso demands - bravura double octaves, playful featherweight roulades, velvety cantabile ruminations.
In a fine partnership, Natalia Luis-Bassa, the Phil's new Principal Conductor, drew from the orchestra a consistently judicious and sympathetic accompaniment, notable especially for Helen Smith's elegant slow movement cello solo.
The first half of the concert offered an odd contrast: a Russian lucky dip. Glinka's Ruslan and Lyudmila Overture, taken at a helter-skelter pace, was brilliantly done. Khachaturian's Spartacus Adagio was almost as impressive.
Mostly successful - soloists James Squire (Flute) and Kenneth Heeks (Clarinet) to the fore - but occasionally wanting in delicacy of balance and claity of definition.
Final thought - with Luis-Bassa I predict greater things yet to come for the Phil: she exudes authority.
Huddersfield Philharmonic Society is a registered charity.