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Bernstein, Fraser, Ellerby, Nogueira, Rudin and Williams: James Gourlay (tuba), National Youth Wind Orchestra of Great Britain, Matthew George, Cadogan Hall, London 9.4.2009 (CR)

Leonard Bernstein: Profanation from Symphony No 1, Jeremiah (arranged by Frank Bencriscutto)
Martin Ellerby: Elgar Variations
Bruce Fraser: Tuba Concerto
Hudson Nogueira: Senzalas, Maracutus e Quilombos
Rolf Rudin: Out of Nowhere
John Williams: Star Wars Trilogy (arranged by Donald Hunsberger)


This concert formed the finale of this magnificent ensemble’s Easter residential course, lead by American conductor Matthew George, who is Director of Bands and Chair of the Department of Music at the University of St Thomas in St. Paul, Minnesota.

The concert began with the Profanation from Bernstein’s Symphony No 1, Jeremiah, in an arrangement for wind orchestra by Frank Bencriscutto. From the outset, it was clear that this was a disciplined group of players who had been taught to high standards and who were capable of achieving a great deal as a group. A confident opening from solo players allowed the some of the principals to shine, before the tutti entry of the full orchestra showed what a magnificent sonority a wind orchestra could create. Bernstein’s music adapts well for this ensemble, which was always very together in the crisp rhythms and the orchestration provided splashes of colour from lyrical flutes to earthy low brass.

Martin Ellerby’s Elgar Variations followed, in the world premiere of the version for wind orchestra, which was made especially for NYWO in recognition of their 40^th anniversary. This is an enjoyable piece which made references to Elgar’s music within Ellerby’s own compositional style; the music almost had the sense of a film composer evoking the English style, and this was done very well. Rapid changes of mood between sections helped to maintain audience interest, and the orchestra handled the contrasts very well. This is a well-written piece which enabled the entire ensemble to shine, and there was some particularly impressive playing from the low brass. Hints of Elgar’s own music appeared and disappeared in this set of variations, which, through the dedication - “to my friend pictured within – never to be revealed” - had an enigma all of its own.

James Gourlay, former Deputy Principal at the Royal Scottish Academy of Music and Drama, has enjoyed a long association with the National Youth Wind Orchestra as conductor. It seemed wholly appropriate, then, that he should be invited as soloist to perform Bruce Fraser’s Tuba Concerto, with the orchestra. Gourlay has a reputation as one of this country’s leading tuba soloists, and with good reason; his control of the instrument is second to none, and his personality shines through on stage. This performance had moments of virtuosity and humour in equal measure, and Gourlay’s rich, unctuous tone will stay in my mind for a long time. The piece is an excellent showcase for the instrument, demonstrating the surprisingly large pitch range and agility of the tuba, and also including some singing and playing creating a sound not unlike the didgeridoo! It ended with an energetic Scottish-themed final movement. The orchestra once again played to a high standard, with some excellent solos.

The first half ended with Hudson Nogueira’s Brazilian themed Senzalas, Maracutus e Quilombos, an extremely challenging piece with complex ostinati underlying the textures. I felt at times that the Brazilian rhythms did not always sit naturally with these young players and there was a sense, perhaps, of trying too hard which made the rhythms seem learned rather than internalized. There were, however, some truly excellent and exuberant solos from principal bassoon (Nick Macorison), oboe (Imogen Coe), trombone (Owen Hubbard) and trumpet (Toby Street) which gave a jazzy dance band feel to the music. The addition of piano and harp to the sound gave an enjoyable contrast too, and there was some particularly impressive piano playing from multi-talented Rosie Breckon, who is also a member of the orchestra’s flute section. The magnificent performance from the percussion section should also not be allowed to go unmentioned; their solo section seemed to have the effect of relaxing the entire orchestra and their combined talents were extremely impressive. For an orchestra of this age to play music of this sort of complexity in such a convincing way is remarkable. The National Youth Wind Orchestra of Great Britain rose to the challenge very well and deserves to be applauded for such adventurous programming.

Two works made up the second half. Rolf Rudin’s Out of Nowhere is an atmospheric work which conjures up images of swirling mists and mysticism. Rudin’s orchestration used the softer tones of the orchestra to excellent effect and the players coped well with the continued phrases moving through different parts of the orchestra. A vocal drone created a magical, spine tingling effect and solos from flute and cor anglais were well played. A Shostakovich-style piano entry changed the mood into an almost tribal section, with the music building dramatically to use the full force of the players. Once again, there were some excellent moments both from soloists and from the ensemble as a whole, and this was a highly successful performance.

The final work of the concert, and undoubtedly one of the highlights, was the Hunsberger arrangement of John Williams’ Star Wars Trilogy, which takes some of the main themes from the film and ends with the legendary trumpet melody that helped to establish Williams as one of the world’s most respected film composers. Heard in a context such as this, the quality of the composition becomes immediately clear. Everyone knows the Star Wars theme, but careful listening in a concert context reveals the mastery of composition and the many layers in the music which help to make it so successful. This was a superb performance; the orchestra was well balanced, disciplined and there was also a sense of enjoyment. I initially thought of this as young people playing music of their generation, but was then mildly amused to consider that most of them weren’t even born when the films were first released! There were some excellent solos from Imogen Waite (horn) and Lucy Eliot-Higgitt (flute) and numerous others which showed individual strengths within the orchestra, and some top rate ensemble playing as well.

Matthew George was clearly a popular conductor, and his laid-back style made him instantly likeable. He publicly thanked the NYWO staff individually, and clearly enjoyed working with these talented students. He certainly helped them to create a performance of the very highest standard and everyone involved deserves to be justly proud.

Carla Rees


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