The Halle Orchestra, Sarah Connolly and a Meeting with Mark Elder

I was lucky enough to be given a ticket to the Bridgewater Hall last night to see the Halle Orchestra perform a wonderful programme.

They started with Bedrich Smetana's (1824-1884) 'Polka and Overture' from The Bartered Bride.

This is probably one of Smetana's best known operas, full of humour, which doesn't reflect any of the tragic circumstances which occurred during his troubled life.
The high-spirited Polka, danced by the villagers in Act 1 of the opera, depicts the mass merrymaking of Bohemian village life as Smetana would himself have experienced during his childhood.
The incredible energy of the string section was inspiring and the power of an exceptional orchestra never ceases to amaze me.

The Overture, to quote the programme notes, "Opens with a breathtaking whirl of rustic exuberance, which subsides into a chattering murmur suggestive of idle village gossip. A sudden crescendo then leads into a second, more dance-like theme ... towards the end Smetana introduces a more reflective theme but this is soon swept away by a final burst of madcap vitality."

Mark Elder showed complete mastery of the orchestra, bringing out the best of each section, with a fantastic performance.

Next, Gustav Mahler (1860-1911), Five Songs to poems by Fredrich Ruckert.

Mezzo-soprano Sarah Connolly joined the stage to give an exquisite performance.
I have only recently come to appreciate the soprano voice, and this was such a moving interpretation which held audience spellbound.
Sarah Conolly's stage presence was enhanced by her beautiful white dress, which Elder later told me, reminded him of a Greek Goddess!
The five songs:
1) Um Mitternacht (At midnight)
2) Liebst du um Schonheit (If you love for beauty)
3) Blicke mir nicht in die Lieder (Do not spy on my songs)
4) Ict atmet' einen linden Duft (I breathed a gentle scent)
5) Ich bin der Welt abhanden gekommen (I am lost to the world)

were sung out of order, which allowed for much discussion in the interval, and an apology from Elder at the beginning of the second half for forgetting to mention it!
All was forgiven as the delicate orchestral texture left the audience entranced.

After the interval, Antonin Dvorak (1841-1904), Symphony No.6 in D major, op.60.
As Dvorak's Sixth Symphony was commissioned by the one-time Halle conductor, Hans Richter, it seemed appropriate to hear it for the first time in this setting.
The Symphony exhibits the musical influences of his friend Brahms and he would have been proud to have composed this piece himself I am sure.
The four movements:
Allegro non tanto
Adagio
Scherzo (Furiant):Presto
Finale: Allegro con spirito

were all conducted from memory by Mark Elder. His obvious enthusiasm of the piece was captured and brought to life via the conduit of the orchestra.
I often find it difficult to follow a conductor, but not so in this case, Elder's clear conducting and precision timing brought the best out of the Halle.

I had attended the concert with a small group of players from a local youth orchestra, and we were lucky enough to go back stage and have refreshments with Mark Elder, after the performance.
I was very impressed with his genuine delight at seeing these impressionable young performers and the interest he showed to each of them and their chosen instrument.
This is just the sort of exercise that all orchestras should undertake to nurture our young people into the fantastic world of classical music, and, one in which I have discussed many times on this blog.

Elder chatted happily in a relaxed manner, took many questions from the group, and gave thoughtful answers. He was very enthusiastic when one young man admitted that it was his first time at an orchestral concert, and Elder was delighted to have been such an inspiration to him.

The topic of applause, during or between movements, was raised. This is a controversial area, but Elder had no hesitation in voicing his opinion.
"Never be afraid to show your emotion, applaud when you feel like you want to", was the general consensus.
Elder pointed out that Dvorak would have been most upset if people didn't applaud between movements and that the modern day approach is certainly not one that Elder advocates. He likes to know that the audience are enjoying themselves and the feedback is good for both him and his orchestra. (Haven't I said this so many times...)

I also discovered that Elder loves the classical guitar and he asked about the various nail problems that guitarists are doomed to endure.
Now I know he likes the guitar, maybe I should send him a couple of Robin's concerti...After all, the Liverpool Philharmonic have played one, maybe it's now time for the Halle.
As for Robin, I'm afraid he missed it all - he was at home looking after the children!

The Lonely Life of a Composer

Robin has a trip looming which requires him to enter 'high practice mode'. See yesterdays blog for the reasons.
But he is torn.
He is also in the throws of composition.
A new piece involving orchestra and choir.
When he picks up his guitar to practice he feels the pull of the computer to continue composing.
When he's at the computer the guitar is calling him back.
Consequently he is doing both.

All day I heard this struggle going on in the music room. It began to feel like I was married to 'Sybil', a character from a book of the same name, with multiple personalities.

Late in the evening I was called.
"What do you think if I get the choir to go into a fugue here?"
It was my turn for the stress response to kick in.
We listened to the whole piece so far, about 6 minutes.
I was familiar with the first 4 minutes as I'd been hearing it on and off all day.
When the new part arrived I was unsure.
The stress mounted.
Was all this responsibility on me?
If I say, "No, it doesn't work", will he delete it? I may deny the world something that they would love, just because I was tired and in the wrong frame of mind...

"Let me hear it again". I wanted more time.
We listened.
To my relief Robin then said, "I don't think it works."
He had taken the pressure off me in just a few words.
"Well, I don't think it does, but don't delete it yet. Lets listen again in the morning."
He left it where it was.

The reality is that whilst Robin wants my opinion, he's really only using me as a soundboard.
Who am I to say what will work. I'm not a musician.
But he wants reaction.
He needs to see how others will hear it.
Ultimately though he will make the decisions.

He knows what he's doing though.
From experience his own pieces have always been exceptionally well received in concert. Whether they be solo, duo or orchestral.
The fact is that nothing ever gets to the point of being heard by the public unless he is happy with it.

As Johannes Brahms once said, "The hard thing is not to compose, but to let the superfluous notes fall under the table."