Saturday 28 March 2015

Conductor: KARL-HEINZ STEFFENS
Soloist: DENIS KOZHUKHIN piano
Tchaikovsky Swan Lake Suite, Op.20
Prokofiev Piano Concerto No.1 in D flat, Op.10
Sibelius Symphony No.1 in E minor, Op.39

The Hallé brings a wonderful symphonic concert to the Westmorland Hall, Kendal, in which Denis Kozhukin is the soloist in Prokofiev’s 1st Piano Concerto. Kozhuzin came 3rd in the Leeds International Piano Competition in 2006 at the age of only 19, and in 2010 took First Prize in the 2010 Queen Elisabeth Competition in Brussels. He is rapidly carving out an international career with a reputation for interpreting Russian works. There is a pre-concert talk at 6.30pm in the Westmorland Hall.

Karl-Heinz Steffens

Karl-Heinz Steffens

Denis Kozhukin

Denis Kozhukin

 

 

 

Saturday 18 April 2015

Director BRADLEY CRESWICK
Soloist: JULIETTE BAUSOR flute
Faure Pavane, Op.50
Mozart Flute Concerto in G, K313
Saint-Saens Odelette, Op.162
Mozart Symphony No.36 in C, Linz, K425

This concert by the Royal Northern Sinfonia brings the Lakeland Sinfonia Concert Society’s 40th season to a close. Bradley and Juliette are no strangers to Kendal, and we are delighted to welcome them. There is a pre-concert talk at 6.30pm in the Westmorland Hall; the concert starts at 7.30pm.

Juliet Bausor

Juliette Bausor

Bradley Creswick

Bradley Creswick

A visit by the BBC Philharmonic is always anticipated with relish; performances are out of the top drawer, eminent conductors display their expertise, players fill vast acreage of stage space and a full house is assured. So it was when, on Valentine’s Day, the Philharmonic entertained in wondrous fashion. Bramwell Tovey, in assertive command throughout, oversaw performances of three works: Tchaikovsky’s overture Romeo and Juliet, Elgar’s Enigma Variations and Rimsky-Korsakov’s Suite Scheherezade.Each befitted the occasion and each, in varying ways, was a show-piece illuminating the widely-ranging competence of his charges.

It was an evening appropriately rich with lush, romantic harmony, and the entire programme was characterised by the highest levels of musicianship. It was a privilege to hear the extent to which the larger canvasses were developed and how the niceties inherent in the smallest of phrases were highlighted. Intriguing, too, was the stunning quality of technical dexterity continuously on display by all the principals and by the full orchestra.

 

Saturday 27 September 2014

Conductor: PHILIP SUNDERLAND
Soloist: JULIAN BLISS clarinet
Purcell Chacony in G minor
Mozart Clarinet Concerto in A, K622
Mozart Eine kleine Nachtmusik, K525
Schubert Symphony No.5 in B flat, D.485

Julian Bliss has just released a CD of the Mozart and Nielsen clarinet concertos, and it’s Classic FM’s CD of the week, so tune in and listen and then come to hear it live! The CD will be available to purchase at this concert.

The Society’s own orchestra, the Lakeland Sinfonia, presents this concert of Purcell, Mozart and Schubert under the baton of Philip Sunderland (below left). It is a reflection of one of the concerts in our first series of concerts in 1974, which also featured Mozart’s clarinet concerto and Schubert’s 5th Symphony.

Read the concert programme notes here.

The concert is in the Westmorland Hall, Kendal Leisure Centre, and starts at 7.30pm.

sunderlandbliss

Saturday 18 October 2014

Director: GERGELY KUKLIS
Soloist: TASMIN LITTLE violin
Vivaldi The Four Seasons, Op.8
Sibelius Romance in C Op.42
Grieg Holberg Suite, Op.40
Bartok Rumanian Dances

Tasmin LittleWe are pleased to welcome back the European Union Chamber Ochestra to Kendal, under the direction of Gergely Kuklis, who has been Concertmaster of the Hungarian National Philharmonic Orchestra since 2000. Tasmin Little is soloist in Vivaldi’s Four Seasons, and this is followed by dance suites from both Grieg and Bartók. There is a pre-concert talk at 6.30pm in the Westmorland Hall, and the concert starts at 7.30pm. Read the programme notes here.

kuklis

Saturday 15 November 2014

Conductor/violin: JULIAN RACHLIN
Schnittke Sonata No.1 for Violin and Chamber Orchestra
Mozart Violin Concerto No.5 in A, K219 Turkish
Beethoven Symphony No.7 in A, Op.92

This, the RNS’s first of three concerts in the Lakeland Sinfonia Concert Society’s 2014-15 season, features contrasting works by Mozart, Schnittke and Beethoven. Julian Rachlin, who conducts and also plays solo violin, entered the Konservatorium Wien at the age of nine in 1983. He gave his first public concert in 1984, and won the Eurovision Young Musician of the Year in 1988. Since then he has played with many of the major orchestras in Europe and the US. There is a pre-concert talk at 6.30pm in the Westmorland Hall, and the concert starts at 7.30pm.

Julian Rachlin

Julian Rachlin

Saturday 31 January 2015

Director/violin: KYRA HUMPHREYS
Soloist: TIMOTHY ORPEN clarinet
Barber Adagio for Strings
Mozart Violin Concerto No.4 in D, K2I7
Copland Clarinet Concerto
Mozart Symphony No.29 in A, K186a

Copland’s Clarinet Concerto was commissioned by Benny Goodman, and is played by the RNS’s Principal Clarinettist Timothy Orpen. Kyra Humphreys will direct the orchestra and play Mozart’s Violin Concerto No. 4. There is a pre-concert talk at 6.30pm in the Westmorland Hall, and the concert starts at 7.30pm.

Kira Humphreys

Kyra Humphreys

Timothy Orpen

Timothy Orpen

A bitterly cold evening, the temperature in the Westmorland Hall hardly conducive to high-quality music-making, the Royal Northern Sinfonia, as guests of the Lakeland Sinfonia Concert Society, were attempting to do just that.

Such was the scenario on 31st January when this versatile orchestra braved the inclement Pennine conditions to air a couple of time-honoured classics, an unfamiliar clarinet concerto and Barber’s exquisite Adagio for Strings. The Sinfonia’s controlled, intense performance illuminated the calm tranquillity and peace of this beautifully-scored work and paved the way for Kyra Humphreys to join her colleagues in a reading of Mozart’s 4th Violin Concerto. Whilst there was much to admire here – a sensitive, stylish partnership, refinement of detail, occasional sparkle – the performance did lack excitement and an overall sheen.

The temperature was considerably raised by a performance of Copland’s Clarinet Concerto. Timothy Orpen, in full command of the soloist’s widely-ranging technical and emotional demands, was partnered in exhilarating fashion by a conductor-less Sinfonia, dispatching the jazz-inspired textures with great aplomb.

The familiar delights of Mozart’s 29th Symphony were vibrantly revealed in a presentation that possessed little of the near-dullness sometimes characterising the earlier Concerto.

Before attending Royal Northern Sinfonia’s concert I was – despite promises of excellence from both my music teachers – admittedly slightly apprehensive at the thought of watching nothing but an orchestra for two hours. However, about one bar in to their flawless opening rendition of Adagio for Strings I became completely enchanted, and stayed that way throughout the whole evening. Highly regarded director and soloist Kyra Humphreys appeared to signal to the orchestra with gestures which, to a member of the audience, were practically invisible; the ensemble’s level of affinity was astounding.

It was not only Kyra’s directorship which wowed, her stunning performance as a soloist in Mozart’s Violin Concerto No. 4was flawless and very inspiring, certainly to a group of music students as was the ‘blazing talent’ of clarinettist Timothy Orpen who performed the Copland Clarinet Concerto. The general agreement amongst teachers and students alike was that the sound he made was incredible and almost unique to him. As the evening flew by each piece allowed every section of the orchestra to showcase their excellence and there was never a moment in which the audience was not captivated by the music.

I find it incredible that such a high standard of music is available so close to us, and would definitely confirm to anyone that live music is good for the soul – especially if that live music is the Royal Northern Sinfonia Orchestra!

Sian Bentley  The Queen Katherine School

Musical compositions will, to varying degrees, always be illuminated by electricity generated by performance levels. Very occasionally, performance levels spotlight with an intense brilliance the inherent genius of the works. The phenomenal Royal Northern Sinfonia, recent guests of the Lakeland Sinfonia, achieved just that with performances of Schnittke’s Sonata for Violin and Chamber Orchestra, Mozart’s 5thViolin Concerto and Beethoven’s 7th Symphony.

The concert was directed to an extraordinary extent by Julian Rachlin, the evening’s solo violinist and conductor. Hunched dramatically over his score, he inspired a thrilling reading of Schnittke’s colourful Sonata, a work unknown to most but vividly brought to life by the combined virtuosity of all participants. Mozart’s Concerto saw him, freed from his score, deliver refinement of interpretation, poetic beauty of tone, spacious phrasing, high levels of virtuosity and a perfect relationship with his partners.

Beethoven’s Symphony revealed Rachlin’s conducting artistry. Sheer animal energy, vibrantly physical body language, total involvement with every orchestral section, superb musicianship – all were transmitted with convincing authority to his players who responded in thrilling fashion. It was, indeed, an electrifying, stimulating experience.