The central item of this DSO concert was undoubtedly Chris Crawley’s extraordinary tone poem “Aspects of Eden”, inspired by the unique Eden Project in the countryside of Cornwall. Chris, who is principal horn in the DSO, is what the Scots used to describe as a “lad o’ pairts.” His inventive spirit has clearly driven his many incarnations throughout a varied career, including academic distinction in English Language and Literature, teaching, self-taught expertise with the French horn, high-calibre musicianship generally – and reflexology! (what next, one wonders!) It comes as no surprise that this restless creative personality should home in on one of the outstanding ecological and engineering projects of the modern age. Chris, displaying remarkable powers of orchestration, has composed a piece of symphonic proportions, containing a kaleidoscope of moods responding to every aspect of this amazing construct. The result is complex music of great depth which merits several hearings to absorb its basic message. Hopefully good recording will facilitate this – and what rare publicity for the Eden Project!

One might suppose that Chris Crawley’s piece pushed the other classics on the programme into an unwonted subordinate role. Not so – they held their own, bless ‘em! The Prelude to Act 3 of “Lohengrin” blew like a fierce Nordic wind through the Centenary Hall. The reflective and lyrical beauty of Tchaikovsky’s Serenade for Strings made one wonder again at the composer’s prolific melodic invention; while Brahms’ Piano Concerto no.1 reached into the depths of the human soul, expressing the turmoil, the longing and the despair of recent bereavement (his friend and inspiration, Robert Schumann). And who better to express this musically than virtuoso Viv McLean. Viv’s unfailing rapport with the DSO and Tom Loten’s leadership needs no further comment.

A specially heart-warming programme of music was provided by the DSO on 28th February with euphoria exuded by every piece. Brahms’ Academic Festival Overture hit the spot right at the beginning with its irresistible paean of joy in youth. “Gaudeamus Igitur” the orchestra exults, almost shouts, in the final bars – “let us rejoice, therefore, while we are young.” What else should healthy teens and twenties be doing, for God’s sake? (Some of us of a certain age, of course, would like to think that our rejoicing could continue even now!) While appreciative of the award of an honorary degree by the University of Breslau Brahms was, perhaps, slightly tongue in cheek when he said that he would write “a very boisterous potpourri of student drinking songs à la Suppé.” Whatever those words might suggest the result was vintage Brahms, combining lyrical exuberance with sublime classical elegance. Surely the honour the composer received could not match the honour done to the University of Breslau by this tribute from a musical titan of the nineteenth century?

The exultant note struck by the overture informed the whole of the solo piece – the Piano Concerto No. 4 in G Major Op. 58 by Beethoven. This, one feels, is Beethoven at his most virile and self-confident. When he composed it in 1805-6, he was in his thirties and at the height of his powers, already with an acclaimed record of achievement behind him, but well before his tragic deafness cast its lengthening shadow over the later years of this supreme artist. Beethoven himself gave the first two performances of the concerto, the first at a private concert given in March 1807 at the palace of his patron, Prince Lubkowitz, the second – the public première – in December 1808 in Vienna in the Theater an der Wien.

It was with keen anticipation that we all looked forward to the solo performance by Rachel Fryer, daughter of Rita and John, a scion of a family which has long enriched the musical life of our community. Rita is, of course, an indefatigable performer and teacher of piano, well known and deservedly popular with us all for her fine music while John, as violist, has for many years been a stalwart of the DSO string section. In the event Rachel gave a virtuoso performance, with nicely judged phrasing, with uninhibited power where appropriate, and delicacy of touch where required. A review in the May 1809 edition of Allgemeine Musikalische Zeitung stated that “this concerto is the most admirable, singular, artistic and complex Beethoven concerto ever.” Quite a challenge, which this brilliant young artist rose to with aplomb!

So much has been said and written about Dvorák’s mighty Symphony No. 9 (From The New World) that further comment would seem to be superfluous. Dvorák was a very self-contained complex character, and it would not be tempting dispute to suggest that two powerful elements in his emotional and artistic make-up were together the dynamo for his creative tour de force. But the point should be made that these elements are working in harmony, not in conflict, each nourishing the other. It has been asserted that Dvorak began to feel homesick for his native Bohemia the moment he set foot on American soil. That is as may be, but it is beyond doubt that the influence of his native folk music and dance was in his very marrow and pervades his entire oeuvre. How could it be otherwise? He was no city slicker, but a Czech countryman born and bred. Having said that, this great artist’s soul was ever open and receptive of impressions from his environment, and the musical culture of Negroes and native Indians worked on him most powerfully. The result, as we all know, was a unique masterpiece of the symphonic repertoire, and an iconic sound hymn to the greatness and majesty of the United States.

Altogether an exhilarating programme, performed with heart-warming confidence and dash by the DSO and a credit to the tireless work and commitment of maestro Thomas Loten.

The Dacorum Symphony Orchestra has undoubtedly been a success story in terms both of its artistic cohesion and in the exciting array of its programmes over the years. Most of this, of course, can be attributed to the work of its inspirational founder and director, Tom Loten. But it should also be pointed out that DSO has been fortunate in its leaders. Inevitably these have come and gone, but with Jane McClelland the orchestra is on firm ground, as she showed by the confident way she marshalled her forces to tackle the challenging programme of 9th November.

The opening piece, the Intermezzo and March from Sibelius’ Karelia Suite, appropriately reflected the DSO’s joy in music making. When first performed in 1893 its effect upon its Finnish listeners must have been intoxicating. Its ebullient sweep and patriotic fervour would have made Tzarist despotism appear as a temporary inconvenience, to be brushed aside at will. But this music speaks to all mankind beyond Finland’s borders. It breathes national pride and freedom of the human spirit. DSO’s rendering was taut at the beginning, achieving a wonderful forward impetus in the development.

To go from Karelia to Ravel’s Pavane Pour Une Infante Defunte is to go from extroversion to introversion. This piece is as stately and elegant as it is sombre, influenced by the composer’s rapport with the Spanish accent in both music and dance (Rhapsodie Espagnole, Bolero). It is not thought that Ravel had any particular deceased princess in mind. Rather it is likely that his mind was running on the Pavane as a slow dance popular in the Spanish Court in the 16th and 17th centuries. Composed originally as a solo piano work Ravel himself transcribed it for full ensemble some years later when his remarkable powers of orchestration had fully matured.

The star turn on this occasion was the rising virtuoso Alec Frank-Gemill who attacked the horn concerto of Richard Strauss with all the youthful exuberance which had created it way back in the 1880s. This was not the Strauss with which the public became familiar later on – tone poems, operas, lieder - but a young artist still in thrall to early German romanticism. However, the dash and vitality of, e.g., the tone poem Don Juan, are very much there in embryo and animated the playing of both soloist and orchestra.

As with Brahms it never occurred to Vaughan Williams in the early part of his career to attempt a symphony. It was his friend George Butterworth who suggested it to him, and the idea grew in him until, via the ambitious Sea Symphony, he arrived at the mighty London Symphony just past his fortieth birthday. Although in classical four movement form this work is really a protracted tone poem, displaying the great city in all its moods – its mystery, its menace, its warmth, its garishness, its majestic beauty – and so on. Vaughan Williams uses every orchestral effect and combination to paint his picture, from a dreamy cor anglais with its ‘lavender’ cry to harsh discords thrusting us, willy nilly into the heart of London’s frenzied bustle; and then, over-riding all, we have brass fanfares evoking imperial grandeur with nautical rhythms interwoven. A popular comment on the music (borrowed from ‘Tono-Bungay’ by H. G. Wells) is that it describes London as it can be seen from a ship that is sailing down the river towards the sea: ‘to run down the Thames so is to run one’s hand over the pages in the book of England from end to end. The River passes, London passes, England passes….’

The performance of this great work by the DSO is a timely reminder that Tom Loten never ceases to stretch his orchestra to the limits of their capacities. Weekly rehearsals months in advance of a concert invariably culminate in a top class performance, with all sections well organized and achieving complete artistic integrity. What can one say? Keep going for the big one, Tom – and look out for Dvorak’s New World Symphony in February, folks!

This Dacorum Sinfonietta concert provided a journey from Baroque through Classical towards Romantic, satisfying aesthetically as well as chronologically and illustrating once again Director Tom Loten’s impeccable musicianship and programming skills. Time was, some years ago, when DSO supporters were invited to suggest music the orchestra might play, but the realization soon dawned that matters could safely be left in Tom’s experienced hands – and so it has happily continued!

Bearing this in mind your reviewer will, on this occasion, ‘do’ chronological rather than order of performance.

Not to be outdone by the winds the Sinfonietta strings gave us a sprightly and polished rendering of the Divertimento in F major by Mozart – classical perfection! And for the finale the orchestra provided a robust rendering of Beethoven’s Symphony no.1, an interesting work which could easily be mistaken for late Mozart but which, by some strange alchemy, seems to be moving towards Romanticism. And perhaps, on this note, we could be allowed one flight of fancy, and leap the gap between the 1st and the 9th symphonies and hear Schiller’s outburst of joy:

Joy, beautiful spark of Gods,
Daughter of Elysium,
We enter, fire-imbibed,
Heavenly, thy sanctuary.