Royal Northern Sinfonia, Westmorland Hall, Kendal

ONE of the Lakeland Sinfonia Concert Society’s favourite guests, the Royal Northern Sinfonia, presented a mix of the known and unknown in their Anglo/Austrian programme: Capriol Suite (Warlock), Sinfonia Concertante K364 (Mozart), Divertimento for Chamber orchestra on ‘Sellinger’s Round’ (Tippett) and Symphony No 39, K 543 (Mozart).

The Sinfonia was conductor-less; I mention this purposefully because most of these works presented challenges for the players - ensemble quality, rhythmic precision etc. They are accustomed to performing in this manner; they’re sensitive, self-motivated musicians but, most importantly, they have Bradley Creswick as their director/leader. His long association with the Sinfonia has resulted in a happy, long-term, authoritative relationship with the players. His charismatic personality is infectiously transmitted to them, they respect his all-round musicianship, they benefit hugely from his example and guidance and they delight in his sense of humour (as do we all!).

The quality of sound was always distinctive: focused, sweet-toned, beautiful. Memorable, too, is the care devoted to the myriad of details involved in the creation of elegant phrasing, not just in obvious, melodic places, but in hidden, middle-of-texture areas. Then there is the attention devoted to matters of balance; there were but few moments when the critic’s ear bristled censoriously. All such features concern the director; all were dealt with admirably.

Warlock Suite (easy on the ear, refined, yet fun to play) contrasted hugely with Tippett’s complex Serenade - colourfully orchestrated, rhythmically intricate, superbly played (conductor-less) – but difficult to discern the Sellinger’s Round connection. A second or third hearing would be beneficial.

Creswick and the orchestra’s principal violist, Michael Gerrard, combined in Mozart’s Sinfonia Concertante; this is a delightful ‘conversation piece’ in which both players (well-matched, but maybe somewhat under-stating their case) were sensitively partnered by their colleagues.

Mozart’s 39th Symphony was performed with classical clarity, taste, sparkle and virtuosity. It was an aural delight but, equally, a visual feast; the body language, the aura of total involvement; all came to fruition in the exhilarating finale.

Brian Paynes