2016/17 Season in Prospect
begin this year’s programme with a concert
of shorter, lighter pieces amongst which
will be found that oddity of an overture
by an otherwise completely obscure
Scottish composer, Hamish MacCunn, The
Land of the Mountain and the Flood which
became a favourite when used as the theme
for the BBC series Sutherland’s Law.
It is not the only piece we play that
found fame this way because we also
perform the Adagio from Khachaturian’s
ballet Sparticus heard as the titles
rolled for The Onedin Line in the 1970s.
Also in the programme will be The Carmen
Suite no.1 of Bizet and the Marche Slave
by Tchaikovsky two perennial concert
Early in December we become more serious
with Brahms’ Fourth Symphony, described
when first heard played as a piano duet by
the critic Hanslick as ‘like being beaten
around the head by two intellectuals’.
Actually I would contend that to our 21st
century ears this Brahms piece has more
consolation and warmth than pugilism. But
that last chaconne movement must be one of
the great moments in the repertoire – and
after Glinka, Massenet and the delights of
Tchaikovsky’s Rococo Variations for Cello
and orchestra – what a concert!
In February we play the 7th Symphony of
the ever positive and tuneful Dvorak after
a first half of old classics from our
namesake, Beethoven, his Leonora Overture
no.3 and Mozart’s fourth Horn Concerto.
The early work of Janacek, his Lachian
Dances, completes the programme.
In April we are to move to France for a
programme of late nineteenth and early
twentieth century works. The chromaticism
of the great Frank Symphony and the
modalism of the Faure Ballade set the
stage for the brilliantly original
impressionistic musical language in the
Debussy Prelude L'apres midi d'une faune
and the wonderfully quirky Les Biches by
Our final concert in the RNCM Concert Hall
is a most attractive programme beginning
with Borodin’s Prince Igor Overture. We
follow with arguably the most loved of all
concertos, Mendelssohn’s Violin Concerto,
and finally the very grand and highly
expressive Symphony No. 5 by Tchaikovsky
written in a spirit of optimism and
confidence before his final downward path
to pessimism in No. 6 The Pathetique.