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Teechamista Theatre, Royal Bay High School
June 18, 2016
It is not given to everybody to become an Overnight Sensation at the age of forty-two.
And yet, this is effectively what happened after the June 1899 premiere of Edward Elgar's Variations, Op.36, commonly and perennially known as the "Enigma" variations. In one fell swoop Elgar had gone from being an impoverished, struggling musician to the toast of the town, the "looked-for genius" (his own phrase, albeit used in a different context) who would finally reinvigorate English music three centuries after the death of the great Purcell.
It was with a splendid performance of the "Enigmas" that the Sooke Philharmonic under substitute conductor Yariv Aloni concluded Saturday's concert.
A few words of explanation: after Friday's hometown performance on Friday night, SPO Music Director Norman Nelson had a slight fall and suffered a minor head injury. Aloni, who was in attendance on Friday, being too busy preparing for a flight to Korea on Sunday morning to attend the Saturday performance — or so he thought — when asked if he could possibly stand in, rose magnificently to the occasion. And so, at less than twenty-four hours' notice and without even a single full rehearsal he directed Saturday's concert.
It speaks volumes for Nelson's preparation of the orchestra, Aloni's clear direction and, of course, the skill and dedication of the players themselves, that the programme went almost without a hitch.
The Elgar, for example, was deeply affecting, despite some occasional scrappy ensemble. The measured opening theme, delicately shaped, led to a thoroughly affectionate first variation, in which Lady Elgar (as she then wasn't) is portrayed.
The heart of any performance of the Enigmas, and this was no exception, is variation IX, "Nimrod". This was given an extraordinarily concentrated reading, from the hushed opening to the delicate close. Paying careful attention to dynamics, Aloni shaped the music so effectively that it brought tears to the eyes. Perhaps it is fanciful, but I had the feeling that the performers were playing this one for Nelson who, apparently disobeying doctor's orders, was present in the audience.
Throughout, and despite the occasional hiccup, all sections of the orchestra played well and the great sweep of the final pages, complete with almost-audible (electronic) organ were almost overwhelming and brought the audience to its feet.
In some respects the performance of Richard Strauss's Horn Concerto No.1 was even more remarkable, as Aloni had never conducted the music before.
Fortunately, in addition to the well-prepared accompaniment, he had the benefit of a superb soloist in Alana Despins.
The work opens with a big, dramatic chord and splendid flourish from the soloist, leading to the first subject. The soloist returns to introduce the more lyrical second subject and Despins' complete control of her instrument and total sympathy with the music were immediately in evidence.
The opening movement featured some delightful interplay with the winds and was — as a popular phrase of the era had it — "always merry and bright".
A finely-managed decelerando led into the second movement, a long, beautifully-played cantilena for the soloist, before the merriment erupted again in the finale, almost Mozartean in feel. Once again Despins was first-rate and in complete control; the accompaniment bounced along until the nippy and uplifting final coda.
The concert opened with the overture and two short movements from Mendelssohn's incidental music to A Midsummer Night's Dream (interestingly, both German and French versions of the title merely refer to a summer night).
The overture was characterised by some colourful and perky wind playing, a full-blooded tutti and energetic and lively playing; the scherzo had plenty of spring in its step and the wedding march — so good to hear the orchestral original, complete with episodes never performed in church ceremonies — provided a suitably matrimonial ending.
A thoroughly enjoyable evening.
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