REVIEW: high achieving orchestra opens music festival with precision

The Westmorland Orchestra achieves very high standards these days and if there is one word to describe the playing on this occasion, it must be the word 'precision.’ Throughout the evening the 50 or so individuals played as one, and the overall sound was that approaching a professional orchestra.

Schumann’s Overture, Scherzo & Finale is not a well-known work. Although stylistically it bears many of the hallmarks of his symphonies, it does not have the same appeal as his truly symphonic works. However, the orchestra played it with conviction and confidence. Conductor, Richard Howarth, kept a firm grip on the ensemble through his clear, economical gestures, never allowing the rhythm to flag or the sense of pulse to be lost in this and the works which followed.

In Hummel’s Trumpet Concert, the young soloist, Gideon Brooks, gave a confident and stylish performance. His strong, clear tone rang through the hall and instantly commanded our attention. His incisive attack and technical control was something that any brass players in the audience could not fail to admire.

After the interval came Beethoven’s great ‘Eroica’ Symphony, originally dedicated to Napoleon - a dedication which was withdrawn when the composer learnt that Napoleon had declared himself Emperor. When reflecting on the playing, the word precision again comes to mind and there were many fine moments. The players followed Beethoven’s constantly-changing dynamic markings closely: the contrast between the violent fortissimos of the full orchestra followed by hushed woodwind chords and pianissimo tremolos in the upper strings in the centre section of the first movement was particularly impressive. The scherzo was taken at a safe speed and in the trio section the horns distinguished themselves in their exposed fanfare-like passages. The last movement’s final chords brought the work to a triumphant and very impressive conclusion.

Clive Walkley