Live in Concert 12.03.14 Ulster Orchestra - Volans, Rodrigo, Dvorak

[Eine Alpensinfonie]

Rafael Payare conducts the Ulster Orchestra in music by Kevin Volans and Dvorak. Craig Ogden is soloist in Rodrigo's Concierto de Aranjuez.
7.30.p.m.
Live from the Ulster Hall, Belfast

Volans: Strip-Weave (rev. 2005)
Rodrigo: Concierto de Aranjuez
Dvorak: Symphony No. 9, op. 95 (From the New World)

Craig Ogden, guitar
Ulster Orchestra
Rafael Payare, conductor

Live from the Ulster Hall in Belfast, the Ulster Orchestra is joined by Rafael Payare, its recently announced Chief Conductor from Autumn 2014, and guitarist Craig Ogden in a concert of music by Kevin Volans, Rodrigo and Dvorak.
To celebrate the Commonwealth the orchestra perform a sparkling work, filled with rhythmic drive: Strip-weave was commissioned by the Ulster Orchestra in 2002 from the South African composer, Kevin Volans.
Rodrigo's Concierto Aranjuez refers to a famous royal enclave on the road to Andalusia on the Tagus river near Madrid. According to Rodrigo, the music "seems to bring to life the essence of eighteenth-century court life, where aristocratic distinction blends with popular culture."
When Dvorák's symphony "From the New World" received its premiere in New York's Carnegie Hall in 1893, each movement ended with wild cheers from the crowd. Dvorak had spent some years in the US during the 1890s and he developed an interest in Native American music and African-American spirituals, both of which influenced this, his Ninth Symphony

[Eine Alpensinfonie]

Does anyone know Strip-Weave?

[Hornspieler]

Rafael Payare conducts the Ulster Orchestra in music by Kevin Volans and Dvorak. Craig Ogden is soloist in Rodrigo's Concierto de Aranjuez.
Live from the Ulster Hall in Belfast, the Ulster Orchestra is joined by Rafael Payare, its recently announced Chief Conductor from Autumn 2014, and guitarist Craig Ogden in a concert of music by Kevin Volans, Rodrigo and Dvorak.

So the American lady didn't last long, then. (Can't even remember her name) - certainly nothing memorable about her choice of repertoire or the orchestra's performance. It is unfortunate that this, Northern Ireland's only professional symphony orchestra, is just used as a stepping stone by conductors (and some players) who are seeking bigger prospects in the rest of Europe.

Hs

[Bryn]

So the American lady didn't last long, then. (Can't even remember her name) - certainly nothing memorable about her choice of repertoire or the orchestra's performance. It is unfortunate that this, Northern Ireland's only professional symphony orchestra, is just used as a stepping stone by conductors (and some players) who are seeking bigger prospects in the rest of Europe.

Hs

Strangely, the current Principal Conductor, JoAnn Falletta, was previously known for her inventive programming. She has, as many conductors do, multiple commitments, the main one being that with the Buffalo Philharmonic. With a couple of Grammy Awards under her belt, and a long list of recording commitments, her's is very much a name to remember, I think.

[ferneyhoughgeliebte]

HS is correct in identifying a problem that the orchestra has - keeping its conductors. Since it was created in 1966, it has had twelve principal conductors, with an average "tenure" of just under four years (the exception being Bryden Thomson, who was there for eight years - take him out of the equation and Ms Falletta meets the average of just over three years). It would be interesting to understand why this is - what are attendances like for their concerts? Does it have an education/"outreach" programme? What are its programmes like (is this one typical, with a couple of warhorses following a "korma" contemporary work [strategically positioned so that those who just want the meat and veg can take their time arriving at the venue])?

Anyone who's been to their concerts have any comments?

[Hornspieler]

HS is correct in identifying a problem that the orchestra has - keeping its conductors. Since it was created in 1966, it has had twelve principal conductors, with an average "tenure" of just under four years (the exception being Bryden Thomson, who was there for eight years - take him out of the equation and Ms Falletta meets the average of just over three years). It would be interesting to understand why this is - what are attendances like for their concerts? Does it have an education/"outreach" programme? What are its programmes like (is this one typical, with a couple of warhorses following a "korma" contemporary work [strategically positioned so that those who just want the meat and veg can take their time arriving at the venue])?

Anyone who's been to their concerts have any comments?

Attendances in Belfast are generally good. Outside the city, audience size is very often below what is needed to make for an exciting performance and guest conductors are often disappointed and disillusioned, but an audience of only 30 to 40 patrons in a town like Larne, for instance, represents a percentage of the population which, applied to the London area, would fill a concert hall 2,000 times over.

The Ulster Orchestra fulfill a great educational role throughout the Province but one can understand why conductors seek their accolades elsewhere.

Anyway. I listened to the Dvorak New World this morning on the iPlayer.

Magnificent playing by the Principal horn, but I'm afraid some rather dodgy intonation and ensemble in the woodwind sections - pity..

What did others think?

Hs

[edashtav]

Strip-Weave or Strip-tease?

Yes, fhg is right this piece of Volans belongs in that appalling category of contemporary scores: Korma Sutra.

The performance seemed to be efficient, but to start one's conductorship with a modest performance of Mozart's Ovt. to Don Giovanni ... better to let it hang out like the Don, Mr Payare.

The wonderful Radio 3 link man told us that the BLIND composer Rodrigo was inspired to write his Concierto be the ARCHITECTURE of the Palace of Aranjuez. He wasn't 'cos ... but he could imagine Courtly life.

With the Blind leading the Blind, I gave up listenining but mused that Mehul's Two Blind Men of Toledo (the first orchestral bolero?) would have made a splendid opener for this concert.