Zoltán Kodály used a collection of traditional tunes from Galánta in Slovakia that had originally been published in about 1800. Galánta is where Kodály’s father was station master whilst he was a child. Written in 1933 his Dances of Galánta, which opened the concert, makes full use of the clarinet.
Robin Ticciati’s welcome to us was followed by a particular welcome to the Ligeti expert, Dr Michael Searby, who had given the pre-concert talk and whose book on György Ligeti’s opera Le Grand Macabre and Horn Trio was published not long ago.
There are seven movements in Ligeti’s Hamburg Concerto, written in 1999 and revised three years later. Whilst guests are always welcome to come and play, having the Orchestra’s own soloist is a real treat for players and audience, and the twenty-six year old Principal Horn, Alec Frank-Gemmill rose way above the mark. And what made the work all the more memorable was seeing his four colleagues behind him, all playing natural horns. It is hard to disagree with the programme notes in which Mike Searby describes the Hamburg Concerto as a bewildering array of highly characterised short, sketch-like movements exploring many of Ligeti’s styles.
After the interval the full Orchestra of forty five players gave us the four movements of Dvořák’s Fifth Symphony. Very much a pastoral symphony, in The Queen’s Hall it was impressive and heart warming.
Robin Ticciati missed an opportunity when he spoke to the audience. A few discerning words about his insight into the night’s music might well have been particularly appreciated by his enthusiastic followers.
Event: Saturday 21 January 2012 at 7.30pm