2011 / 2012 Season

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Saturday, November 26 : Northern Sinfonia

Confirmation that the Northern Sinfonia, under the guidance of Mario Venzago, is undoubtedly one of the country’s cultural jewels was provided recently when it was the guest of the Lakeland Sinfonia Concert Society.

The programme’s attractive mix of the familiar (Mozart’s Violin Concerto No. 5) and the not-so-familiar (Bruckner’s Symphony No. 2) yielded a profusion of opportunities for everybody to display their skills. Ever-present was evidence of the high-quality performance levels of the players who answered Venzago’s every request - for spaciousness of phrase, rhythmic precision, dynamic contrast, a wide range of tonal colour and for injection of poise, beauty and flow into all things melodic.

The loveable, uniquely-modest, but oh-so-musical Bradley Creswick brought lyricism, vigour, humour, imagination and wonderful technical dexterity to his endearing reading of the Concerto. His colleagues, with their accustomed finesse, partnered him in true Mozartian manner.

Venzago oversaw a commanding performance of the Symphony whose unfamiliar sonorities resounded - sometimes powerfully, sometimes spell-bindingly quietly – round the Hall. So much imaginative TLC was bestowed upon this lengthy work whose complex architecture was projected with total understanding.

Brian Paynes.

Saturday 05 November 2011: Manchester Camerata

As well as Brian's review below, click here for a review by Seen & Heard International

November 5th. - those inside the Westmorland Hall attending the Manchester Camerata’s concert might well have imagined they would escape the fireworks and excitement of Bonfire Night. Not so - the musical fare on offer was far more exhilarating than anything inspired by Guy Fawkes! 

Here, led by Giovanni Guzzo, one of the leading violinists of his generation, was one the UK’s foremost chamber orchestras, presenting a programme full of interest and curiosity; a Symphony (No.10) and  a relatively obscure Violin Concerto (D minor) by the youthful Mendelssohn, an unfamiliar Sibelius Suite (Rakavstava) and a Mahlerian arrangement of Schubert’s “Death and the Maiden” String Quartet. 

Throughout the entire evening the Camerata was galvanised by the sheer musical/physical vitality and intensity of its leader; whatever the character, mood or tempo might be, he was there, as vanguard. He instilled dynamism, refinement of phrase, tonal beauty, poetry, poise, total command of dynamic contrast; smallest details were important and perfect textural balance ensured the audibility of each part.  

The Violin Concerto (not, perhaps, the E minor’s equal) witnessed Guzzo and his colleagues, with awe-inspiring virtuosity, imbue the work with passion, high spirits and, above all, elegance. His encore –unaccompanied Bach – was ravishing.

Brian Paynes.

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Information relating to what clients of the 2010/2011 season thought of the concerts etc is now available to download. These three files are all 'PDFs' and therefore you will need something like Adobe Acrobat or a similar product to be able to read them.

Survey Analysis : Audience Members' Feedback
Survey Analysis : The Most/Least Popular Performances of 2010-11
Survey Analysis : Narrative to accompany results

2010 / 2011 Season

Saturday  12 March 2011: European Union Chamber Orchestra

Formed in 1981 the European Union Chamber Orchestra comprises of young professional musicians from the member countries of the European Union. The EUCO receive an annual operating grant through the European Commission. On the evidence of the high performance standard heard at Kendal the chamber orchestra would appease the most fervent Eurosceptic. 

Opening the programme was the Capriol Suite for strings from Peter Warlock; certainly his best known composition. A troubled composer with a chaotic life, Warlock, whose real name was Philip Heseltine, wrote the score in 1926 whilst residing in the Kent village of Eynsford. Based on a manual of Renaissance dances the suite beguiled and entertained the audience. Right from the opening measures the quality and tone of the chamber orchestra was evident. It wasn’t difficult to imagine elegantly attired nobles dancing at a fashionable European court. Directing from the violin Zoltán Tuska encouraged an exuberant and glowing performance from his talented players. Especially enjoyable was the serene playing of the stately Pavane and the vivacious Mattachins sent the suite hurtling to its conclusion with real intensity. 

Russian born British soloist Nikolai Demidenko provided the highpoint of the evening with his captivating performance of the Piano Concerto No. 9, K.271 by the twenty-one year old Mozart. Known as the Jeunehomme it has been said that Mozart was inspired by the Salzburg visit of a French pianist called Mademoiselle Jeunehomme. Whatever its origins the distinguished pianist Alfred Brendel has described the score as, “one of the wonders of the world… it was Mozart’s first great masterpiece.” Demonstrating an indubitable technique Demidenko’s characterful playing had depth and gravitas. I loved the drama of the opening movement Allegro and the beautifully paced and articulated Andantino created profound passion and anguish like the pain of unrequited love. The Finale designed as a Rondo: Presto was played with a firm sense of forward momentum. Demidenko peeled off the joyous surface veneer to reveal a dark-hued tension simmering beneath. After such thunderous applause it was no surprise that Demidenko treated the enthusiastic Kendal audience to an encore. You could have heard a pin drop for Chopin’s Nocturne in C-sharp minor, Op. posth. delightfully played, both thoughtful and poetic.  

In this Liszt Bicentennial year it was good to hear Angelus! Priere aux anges gardiens a devotional prayer to Guardian Angels. Originally one of the piano pieces from Liszt’s third set of Années de Pèlerinage (Years of Pilgrimage) this arrangement for string orchestra was made in 1882. There cannot have been too many audience members who had heard a performance of this version before. An even-tempered score inspired by the tolling of the Angelus bells in Rome the chamber orchestra’s playing wove a canvas of reverential contemplation. There was a warmly romantic tone to the string section interlaced with playing of impressive unison. The brief passage for soaring high strings was gloriously spun.   

The chamber orchestra and their director Zoltán Tuska had more chance to excel with Haydn’s Symphony No. 59 in A major known as the Feuersymphonie (Fire Symphony). A relatively early work composed around 1766/67 not long after Haydn had become Kapellmeister at Esterházy the score requires pairs of oboes and horns in addition to the strings. The opening Presto complete with its sudden dynamic contrasts just crackled along with joy and drama followed by a dignified slow movement almost wholly for the strings. Haydn’s gracious yet cheerful Minuet preceded the contrasting Finale: Allegro assai terse, upbeat and marked by abrupt dynamic shifts. Enthusiastic applause was rewarded by an encore of the fascinating Finale from Haydn’s Symphony No.44 Trauer (Mourning/Funeral) with its unexpected minor key conclusion. 

Michael Cookson of www.musicweb-international.com
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Saturday  12 March 2011: European Union Chamber Orchestra

Since 1981 the European Union Chamber Orchestra has been travelling the world delighting audiences with the quality of its music-making. Recently in Kendal as the guest of the Lakeland Sionfonia Concert Society it presented a programme that was the perfect vehicle for displaying its manifold accomplishments.

In Peter Warlock’s Capriol Suite we marvelled at the sublime tonal blend and balance of the nineteen string players whose phrasing exhibited an intoxicating discipline and refinement. In Liszt’s Angelus, Prière aux anges gardiens, we were treated to identical attributes as well as sonorous tone, a wide dynamic range and vibrant attacks and releases.

When a couple of horns and oboes joined the ensemble they, with their superb musicianship and sense of style, added immeasurably to the overall impact of Mozart’s Piano Concerto No. 9, in which the impeccable soloist was Nikolai Demidenko. Here is a true artist; no detail escapes him, he produces a wondrous range of tone, volume and colour and, together with the EUCO, he forged a memorable performance.

Haydn’s spirited Symphony No. 59 was similarly played with verve,  crispness, clarity and exquisite style.  

Brian Paynes. Westmorland Gazette
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Saturday  26 February 2011: Northern Sinfonia

Northern Sinfonia concerts are always memorable and that presented recently by the guests of the Lakeland Sinfonia Concert Society was no exception. Maybe the programme order/content was not to everybody’s liking – a second-half combination of Schubert (Overture:“Rosamunde”) and Schumann (Symphony No. 1) was, perhaps, somewhat ineffectual coming after a lustrous first-half mix of Mendelssohn (“A Midsummer Night’s Dream” Music) and Liszt (“Totentanz” for Piano and Orchestra).

Under the picturesque control of Mario Venzago the Sinfonia gave an engaging account of Mendelssohn’s delightful Shakespearean music (with woodwind and horns well to the fore) before rolling up their collective sleeves to do battle with Liszt: here, right in the van, was their pianist commander, Sergio Tiempo. The composition itself is not out of the top drawer but its dazzling piano part is of mind-boggling difficulty. Despite being of slight physique Tiempo generates enormous power and this, together with his phenomenal finger dexterity and musicianship, resulted in a performance high on wow factor.

Schubert’s Overture and Schumann’s Symphony enjoyed the same clean- cut, musicianly and professional exposure as displayed throughout but, without doubt, the undying memory is of Mr. Tiempo!

Brian Paynes. Westmorland Gazette
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Saturday 12 February 2011: Hallé

Sir Mark Elder and his beloved Hallé – recently presented a “London Concert” for the Lakeland Sinfonia Concert Society. Their programme, an attractive innovation for all concerned (Sir Mark included), opened with Elgar’s colourful impression of the capital as portrayed in Cockaigne (In London Town). Sweet-toned, lyrical strings, beautifully-blended brass, textures wherein all strands were clearly articulated, ferocious climaxes during which each section seized its opportunities to excel – all this ensured that the performance faithfully illuminated the composer’s supreme orchestration skills.

Haydn’s ‘London’ Symphony offered a compelling foil. Significantly smaller forces and the abandonment of vibrato confirmed that we were in the eighteenth century. Clean-cut phrasing, an emphasis on fine detail, vivid dynamic contrasts, rhythmic impetus, crisp articulation, poise and charm where appropriate – all bestowed an authentic period identity on the performance.

Vaughan Williams, although a “reluctant symphonist”, produced a veritable masterpiece in his Symphony No. 2 (London). Sir Mark, in imperious form, unfurled an equally masterful performance from his colleagues. Power, radiance and glory, seduction and enticement, warm and sensuous mystery – all were there in glittering array as we were guided, enraptured, past the sights and sounds of London.

Brian Paynes. Westmorland Gazette
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Saturday 22 January 2011: BBC Philharmonic

The vastly experienced conductor and the BBC Philharmonic meeting the extremely talented young violinist provided a heady alchemy at this Kendal concert. Günther Herbig has had a long and fruitful relationship with the BBC Phil becoming their principal guest conductor in 1980. With zest taking precedence over poise Weber’s overture Euryanthe made a splendid if unimaginative curtain-raiser to the evening as well as serving to limber up the players.

Undoubtedly the main attraction of the evening Russian soloist Alina Ibragimova wooed the appreciative audience with an impressive performance of the much loved Beethoven violin concerto. Ibragimova is not just a rising star establishing herself on the scene, she is already a star, vastly talented with a charismatic stage presence. Confident and assured throughout and using only a moderate amount of vibrato Ibragimova’s 1738 Pietro Guarneri violin filled the hall with its honeyed tone. Bringing a mesmerising effect to the heartbreaking slow movement only those with a heart of stone could fail to be moved by her breathtaking interpretation.

The seasoned German maestro Günther Herbig must have surely conducted Dvořák’s Symphony No.8 countless times over the years and didn’t need to use score. I heard the same forces perform this score so successfully just over a week ago at the Bridgwater Hall, Manchester. A native of Bohemia Dvořák loved to incorporate the sounds of nature and folksong into his symphonic music. The captivating and high-spirited Eighth Symphony written mainly at the composer’s Bohemian retreat overflows with a fresh bucolic lyricism. With skilfully chosen speeds Herbig and the BBC Phil rose to the challenge delivering an exhilarating and fresh account of this much loved score. In the briskly taken opening movement, one minute it felt like walking through an autumn forest with all its associated noises and colours of nature. The next minute it was like looking down on the unrelenting clamour and hubbub of a busy Prague. I loved the heavy-bottomed sound produced by the deep rich timbre of the low strings. The nature infused Adagio was beautifully shaped by Herbig with the gifted woodwind making the most of their opportunities to shine. Providing a brief respite from the underlying sense of reflection the underlined passage evocative of a village band was dazzling. The third movement takes the form of a charming Intermezzo containing attractive, richly melodic if rather lugubrious melodies. Firstly a delightful waltz and then a rustic dance in the trio with the magnificent strings again excelling. In a spectacular fashion the glowing trumpet fanfare introduced the Finale, a theme and set of variations. A Dvořák masterstroke is the return of the delightful main Bohemian theme so gloriously played by the opulent sounding cellos. To round off the symphony the BBC Phil played this thrilling and up-lifting music with a passion and determination that few orchestras can match.

This magnificent orchestra had cast their magic spell over a delighted audience. My long journey home in the freezing fog felt eminently worthwhile.

Michael Cookson of www.musicweb-international.com
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Saturday 22 January 2011: BBC Philharmonic

The BBC Philharmonic was in town recently as a guest of the Lakeland Sinfonia Concert Society. With Günter Herbig - a conductor of true class, who conveys musical substance with subtlety of gesture and no trace of exhibitionism - on the podium such a combination ensured music-making of the highest quality. It was a privilege to hear well-loved, familiar music given, excitingly-fresh readings by professionals who have performed it countless times before; I watched the back desks of string sections attack the music with a dedication equal to that of those nearer the front; at the end of the concert I noticed the warm, congratulatory gestures exchanged by players who know they have given their all. ...

Weber’s Overture ‘Euryanthe’ - dynamic, electrically rhythmic, sonorously lush of tone - propelled us uncomplainingly into the most memorable performance imaginable of Beethoven’s Violin Concerto. Alina Ibragimova - with imagination, passion, superb technical dexterity, a lovely instrument and total understanding of the music reaffirmed a well-known truth – this is an exquisite concerto. Dvořák’s sumptuously tuneful Symphony No. 8 - with breathtaking dynamic contrasts, rusticity and seductive beauty - brought the evening to its swashbuckling close.  

Brian Paynes. Westmorland Gazette
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Saturday 6 November 2010: Northern Sinfonia

The Lakeland Sinfonia Concert Society recently promoted its second Northern Sinfonia concert within a fortnight, this time with maestro, Thomas Zehetmair in charge - wonderful!

 A rarity by Charles Ives, The Unanswered Question, immediately set the standard of performance for the evening. Only the most talented of string sections could have maintained throughout this short piece, with utter control, the extreme pianissimo and with what powerful effect did the immaculate solo trumpeter and woodwind quartet question and mock!

 Zehetmair, for whom everybody has total veneration, both as conductor and violinist, was the soloist in Mendelssohn’s Violin Concerto. His was an attractive, personal, individualistic reading which, however, did occasionally lead to balance and ensemble problems and to distinctly uncharacteristic (disappointing for him!) moments of untidiness. His colleagues were their usual valiant, alert partners and, like the audience, were stunned by his encore – a Paganini Caprice.

Tchaikovsky’s not-so-familiar, but thoroughly engaging, Symphony No.2 concluded the evening in commandingly triumphant fashion. The excellence of all aspects of the Sinfonia’s execution, together with Zehetmair’s positive overseeing, enabled us to marvel at the sheer quality and beauty of Tchaikovsky’s imaginatively radiant scoring. 

Brian Paynes. Westmorland Gazette
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Saturday 6 October 2010: Northern Sinfonia

The Northern Sinfonia – one of British music’s treasures – with its programme of Bach’s Concerto for Two Violins,, Piazzolla’s The Four Seasons of Buenos Aires and Vivaldi’s The Four Seasons Op.8 dazzled the Lakeland Sinfonia Concert Society’s audience with virtuosity, musicianship and artistry.

In Bach’s exquisite Concerto the two violinists (Kyra Humphreys and Rosamund Kitchen), whilst not always perfectly-matching in phrasing and balance, combined well, both with themselves and with their colleagues who accompanied throughout with sympathy and discretion.

 Piazzolla’s work – tango-influenced, sensuously dramatic – was exhilarating as Kyra Humphreys (resplendent in crimson), and her colleagues, imparted to the music a wonderful authenticity; the folksy Argentinian rhythms, the quirky effects, the frequent and rapid changes of tempo and mood – all were managed with supreme dexterity.

Over-exposed it may be but The Four Seasons reveals Vivaldi’s genius in all its glory. The Sinfonia’s strings, supporting with utmost refinement, projected Bradley Creswick’s wondrously characterful playing to the fore and together they vividly illuminated the music’s programme.

My final memory is of Bradley (perhaps overcome by his rapturous reception) hurtling round the stage in a futile attempt to discover the exit – surreal but loveable!

Brian Paynes. Westmorland Gazette
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2009 / 2010 Season:

Saturday 17 April, 2010 : BBC Philharmonic 

The BBC Philharmonic, Nicholas Kraemer and Raphael Wallfisch were in Kendal recently as guests of the Lakeland Sinfonia Concert Society. Their attractive programme - Mendelssohn’s ‘Ruy Blas’ Overture, Dvořák’s Cello Concerto and Beethoven’s ‘Pastoral’ Symphony - afforded the Society’s capacity audience abundant evidence as to why they are each celebrated on the current international musical stage.

From the Overture’s opening sonorously-solemn brass chords right through to its end Nicholas Kraemer, unobstrusively but firmly in control, exhorted from his charges a performance imbued with brightness, sparkle, energy and precision.

Dvořák’s Concerto is a warmly-Romantic, lyrical piece frequently permeated with passages of high drama and passion and the superb, almost chamber-like, partnership between Raphael Wallfisch and his faithful orchestral colleagues ensured that the composer’s colourful scoring and melodic genius were always apparent. Maybe, though, from the point of view of balance, Radio 3’s audience will fare rather better than we did in the Westmorland Hall, where the solo cello occasionally came off second best to the Philharmonic.

The ‘Pastoral’ - with cultivated solo woodwind contributions, wonderful balance control, spacious, shapely phrasing and graphic imagery to the fore -  was given a thoroughly professional and radiantly-beautiful reading.

Brian Paynes. Westmorland Gazette
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BBC Philharmonic with Raphael Wallfisch

Was it good? In one word, Yes. How good? In one word, Fantastic. Have you seen better? In one word, No. That would be what I would say if somebody asked what the BBC Philharmonic were like when they came to Kendal Leisure centre on Saturday the 17th of April 2010. I really mean it. Actually, I probably would have written a review this complimentary even if I’d only heard the first line from Mendelssohn’s Ruy Blas overture. What a beginning it was. The brass comes in with a strong yet steady start which is quickly contrasted by a beautiful pizzicato extract from the string section. It is repeated, and then the brass comes in a third time, this time with the Timpani. Now the brass and string play together, and then the overture, which was written in just three days, properly begins. What a start!

When the marvellous overture finally comes to an end, it is time for the soloist to step in and play the Fantastic Dvorak Cello Concerto which, I must admit, looks like the hardest piece ever, and this is coming from a Cellist. Did he find it hard? I’ve seen people who are strolling in the park looking less relaxed. He wasn’t boastful, but yes, very relaxed. The superb soloist, who is the professor of Cellos at the Royal College of music, began excellently yet seemed to improve. He made the cello sing as he effortlessly performed this challenging piece. He went on to the second movement exhibiting his versatility as he conveyed the movement’s tempo and mood. And to finish he played a march-like movement with familiar tunes popping up which I’m sure every member of the audience recognised but, of course, they hadn’t heard it played that well before. Overall, I thought it superb and when the music came to an end I felt like standing up and shouting at him play one of Bach’s unaccompanied suites, I’m sure he’d play that well too.

To finish the Orchestra played the ‘Pastoral’, the 6th symphony by the composer who liked trees better than people, the great Beethoven. It began with the well-known first movement; ‘Awakening of happy feeling on arrival in the countryside’ and continued until the crescendo played excellently by the orchestra. The last movement; “Shepherd’s song-glad thankful feelings after the storm” played so majestically rounded off the concert brilliantly. ‘I hope they make it an annual event! ’, I heard one person say. I agree.

Joe Davies, aged 12

Source: www.bachtrack.com/bbc-philharmonic-raphael-wallfisch