TITLE: Slaithwaite Philharmonic Orchestra

VENUE: Huddersfield Town Hall

REVIEW: William Marshall

CULMINATING in Stravinsky’s Rite Of Spring, this was a typically ambitious concert by the Slaithwaite Phil, under the baton of Benjamin Ellin.

And, as usual, they achieved their musical goals in a programme – much of it eastern European in origin or inspiration – that was characterised by extravagant and demanding rhythms.

For example, the concert’s centrepiece was the contemporary Slovenian composer Alojz Ajdi’s Rhapsody For Trumpet And Orchestra, in which the soloist was the rising young player Rebecca Robertson, a former Kirklees Young Musician of the Year.

Her tone and control were admirable, especially on a long and demanding solo cadenza. When she has further developed the projection of her sound and her personality, Rebecca could break into the front rank of trumpet soloists.

But almost equally impressive during the Rhapsody was the Phil’s percussion section, which had some dazzlingly demanding work to do, especially on side drum and vibraphone. The players acquitted themselves brilliantly.

The concert began with Uros Krek’s Rhapsodic Dance and included Bartok’s Romanian Folk Dances and the splendid soundscape of Respighi’s Pines of Rome, complete with tuba band in the gallery.

And the programme included two of the most innovative and influential compositions in the orchestral canon, beginning with Debussy’s sensual Prelude a L’Apres-midi d’un Faune, given a suitably languid performance. For much of its length it is tantamount to a flute concerto and the orchestra’s co-principal flautist, Lynda Robertson, and her section colleagues played exceptionally well.

The concert concluded with Rite Of Spring. As ever, it was difficult to conceive that this piece was written and premièred before the First World War. In spite of all subsequent musical developments, it has never surrendered its shock of the new – and it certainly hasn’t got any easier to play.

With its ultra-complex rhythms and time signatures, this is a composition that tests both conductor and orchestra and challenges their inter-dependence.

This was a very well executed performance, with a tightness typified by the aplomb of the final chord.

The Slaithwaite Phil was impressively augmented for this concert and in addition to rhythmic excitement we also heard some fascinating instrumental colours, including rarities such as Wagner tubas and a bass trumpet. The concert was also, therefore, a tribute to the musical resources of the district.