Playful Coleridge-Taylor contrasting with dramatic Mahler from the Brighton Philharmonic Orchestra

Elena Urioste
 © Chris Gloag

Elena Urioste (violin)

Brighton Philharmonic Orchestra

Alice Farnham (conductor)

Ruth Rogers (leader)

2.45pm, Sunday 19 October 2025

Dome Concert Hall, Brighton

★★★★

Coleridge-Taylor, Samuel (1875-1912): Violin Concerto in G minor, Op. 80

Encore:

Arlen, Harold (1905-1986): Over the Rainbow (?arr. Poster, Tom (b.1981))

Mahler, Gustav (1860-1911): Symphony No. 5

For their latest programme, ‘The Romantics’, the Brighton Philharmonic Orchestra presented two highly contrasting works, with Mahler’s mighty Symphony No. 5 following the lighter offering of Samuel Coleridge-Taylor’s Violin Concerto in G minor, Op. 80. Ben Gernon was originally scheduled to conduct the concert but was replaced by Alice Farnham, whose combination of precise direction and energy made for a highly engaging afternoon’s programme. Of course it shouldn’t be worthy of note, but it’s great to see an all-female roster (for the second time this season) of conductor, soloist (Elena Urioste) and leader (Ruth Rogers) – with Music Director Joanna MacGregor the overall driving force. 

Elena Urioste
© Nick Boston

Violinist Elena Urioste was born in the US, and has an established solo career, performing with orchestras around the world. She is also a committed chamber music, with her Chamber Music by the Sea festival in Maryland celebtrating its tenth anniversary this year. She also co-founded with her partner, Tom Poster, the Kaleidoscope Chamber Collective, frequent performers at the Wigmore Hall and at the most recent Coffee Concert at Brighton Corn Exchange. She first performed Samuel Coleridge-Taylor’s Violin Concerto with Chineke! in 2019, recorded it with them in 2022, and has become a strong advocate for the somewhat neglected work. It’s an open-hearted piece, full of lyrical invention and plenty of opportunity for a virtuoso soloist to shine. Born in Croydon, of mixed Sierra Leonean and English heritage, Coleridge-Taylor originally intended to use spirituals for the melodic material of his Violin Concerto, but wasn’t happy with his attempts, deciding instead to use his own thematic ideas. Of course, Dvořák’s take on ‘American’ music also must have had an influence to bear here too, but the resulting work has a great sense of fun and individual style, which Urioste communicated here with great enthusiasm. 

Following the brassy stately opening from the orchestra, Urioste launched with a flourish into the first melodic idea, and from there, delivered each episodic entry with panache, at one point dancing her line over the accompanying pizzicato strings, and elsewhere injecting just enough bite to point up her dotted rhythms over the full orchestra. That dotted rhythm featured highly in her impressive cadenza, leading to a dramatic conclusion from the orchestra. The second movement is unashamedly lyrical, and the BPO strings set up just the right kind of muted accompaniment to allow Urioste to sing the silky lines above them. Orchestral ensemble was kept tight by Farnham through the ebb and flow of the rubatos whilst Urioste’s tender solos roamed effortlessly. The sprightly finale is once again packed with thematic invention, and Urioste and Farnham drove on through with playful energy (accompanied by frequent audible foot-tapping from Urioste). Virtuosic downward scale passages and skittering runs were aplenty, and weighty tuttis from the orchestra made for a brightly dramatic conclusion. In stark contrast, Urioste gave a simple yet highly tender rendition of Over the Rainbow by Harold Arlen (arranged I believe by Tom Poster), with gentle double-stopping providing some harmony, but the emphasis being on the beauty of the melodic line, delighting the Brighton audience.

 

Alice Farnham & the Brighton Philharmonic Orchestra
© Nick Boston

In contrast to the light-hearted ease of the Coleridge-Taylor, Mahler’s Symphony No. 5 was of course a completely different matter. The funereal opening movement immediately takes things in a darker direction, and the challenge for the orchestra is equally weightier. There is a great deal of pressure on many soloists from the orchestra, chiefly the trumpet and horn, and on the whole, the BPO acquitted themselves very well. It has to be said, however, that the overall strike rate today of brass splits was relatively high, which was a pity. The first movement’s woodwind dance had finesse, with some wild car-chase strings to follow, and Farnham steered the orchestra through with great clarity, although the latter part of the movement lost a little forward momentum. The screaming opening of the second movement had great drive, and the concluding brass chorale gleamed brightly, although the central marching section could have taken a bit more bite. The Scherzo had lilt and swagger, although at times a little too precisely measured, and once again, it was the woodwinds that shone the most, with the pecking bassoon and delicately precise oboe proving most noteworthy. The Adagietto was beautifully shaped by Farnham, with warm and tender playing from the strings, and sumptuous playing from harpist Alex Rider. The finale raised the mood, with precise horn and woodwind solos leading to the cellos deftly setting off the playful fugal section that followed. The orchestra appeared more in their element now, and the brass climaxes, swaying strings and woodwind interjections were knitted together with momentum by Farnham, with the final accelerando racing to a spectacular finish. So if not the most precise Mahler 5 at every point, Farnham and the BPO certainly delivered a performance with high energy and many great moments. 

Dazzling Tippett from Steven Osborne and the London Philharmonic

Steven Osborne, Edward Gardner
& the London Philharmonic Orchestra
© London Philharmonic Orchestra

Steven Osborne (piano)

London Philharmonic Orchestra

Edward Gardner (conductor)

7.30pm, Wednesday 25 January 2023

Royal Festival Hall, London

★★★★

Samuel Coleridge-Taylor (1875-1912): Solemn Prelude, Op. 40

Michael Tippett (1905-1998): Piano Concerto

Keith Jarrett (b.1945)/Steven Osborne (b.1971): Vienna Concert, opening (improvisation)

Edward Elgar (1857-1934): Symphony No. 1 in A flat major, Op. 55

Coleridge-Taylor:

'The LPO and Edward Gardner gave a lusciously rich performance, the orchestra's impressive string sound in particular setting out their stall well for the Elgar later in the evening'.

Tippett:

'Steven Osborne was on dazzling form technically, but also expertly managed the complicated interplay with the orchestra'.

'Gardner kept a tight rein on proceedings too, controlling the dynamics of the richly textured, often spikily polyphonic orchestration'. 

Elgar:

'Gardner took the scurrying second movement at a pace, and the LPO responded with energy and precision'.

'Gardner allowed the detail to emerge, holding onto the building tension, giving the final return of the noble theme added power, bringing a fine performance to a triumphant conclusion'. 

Read my full review on Bachtrack here.

Vote 100: Celebrating Women Composers

Saturday 17 November, 7.30pm, St George's Church, Brighton

Vote 100: Celebrating Women Composers marks the centenary of some women gaining the vote. A specially commissioned new work - ‘Lead On’ - by Lucy Pankhurst, a relative of leading suffragette Emmeline Pankhurst, will be performed and music by a diverse range of women composers, with Caroline Lucas MP as a key speaker.

Artists include soprano Polina Shepherd, vocal/instrumental group HEARD Collective, choir Women of Note, guitarist Brian Ashworth, flautist Rebecca Griffiths and pianists Evgenia Startseva and Yuri Paterson-Olenich plus multi-pianist ensemble the Zongora Piano Group and the Appel Trio. 

Featured composers include Norah Blaney, Rebecca Clarke, Avril Coleridge-Taylor, Lilian Elkington, Shena Fraser, Augusta Holmès, Ethel Smyth plus present-day composers Litha Efthymiou, Cecilia McDowall and Master of the Queen's Music, Judith Weir.

'Norah Blaney (right) and her partner Gwen Farrar first met in 1917, entertaining troops in a concert party. Gwen played the cello and Norah was a classically trained pianist who had also studied composition at the Royal College of Music. Several of the songs she wrote were published while she was still in her teens and 'Are You There Mr Bear?' is still in print over 100 years later.

Norah and Gwen appeared in the 1921 Royal Command Performance at the London Hippodrome. They went on to star in revues at the Vaudeville, Prince of Wales and Savoy Theatres, becoming household names in 1924 for their recording of 'It Ain't Gonna Rain No More'. They lived together as lovers in a house in the King's Road Chelsea, where they entertained Noel Coward, Tallulah Bankhead, Radclyffe Hall, Dolly Wilde (Oscar's niece) and the lesbian action hero Joe Carstairs, to name just a few'.  
(with thanks to Alison Child).

Alison Child is currently writing a biography of Norah Blaney and Gwen Farrar, Tell Me I'm Forgiven (with cover design by Andrew Kay) which will be available in the Autumn of 2019.

Book tickets here.

CD Reviews - July 2016

Ensemble Diderot, lead by Johannes Pramsohler, have completed a project begun by the great Reinhard Goebel with Musica Antiqua Köln (who disbanded in 2007). Goebel & MAK recorded six of Johann Friedrich Meister’s (c1638-1697) twelve Trio Sonatas, ‘Il Giardino del piacere’ as their final enterprise, and Goebel himself asked Pramsohler and the Ensemble Diderot to record the final six.  All the Sonatas have multiple, relatively short movements, based on dance forms, but Meister was one of the first, if not the first German composer to take the prevailing style of Lully and others and move the music away from the ‘danceable’ forms to what became Ars combinatoria. So the French and Italian styles were developed and combined, creating a more intellectual ‘art music’. So whilst the Gigue in this ninth sonata has a real bounce, played by the Ensemble Diderot with lively spirit, it is no longer obviously a simple dance. The Corrente of the twelfth sonata has real rhythmic spice, with accented offbeats, and the Allemanda of the same piece has striking upbeats, all creating great interest and once again moving the form away from the expected. The Ensemble Diderot vary the textures too, with the harpsichord dropping out of the Sarabanda in the twelfth, leaving the cello to provide a walking bass line.  On the other hand, the harpsichord provides delicate touches to the seventh sonata’s Sarabanda, and the violins stylishly emphasise the offbeats in the first sonata’s Sarabanda, demonstrating the variety Meister creates in a seemingly homogenous choice of structure. The third sonata contains a beautiful Adagio, with the cello starting each phrase with long held notes over which the violins and harpsichord weave plangent cries – here cellist Gulrim Choi maintains a perfectly even, semplice sound for the others to work off. The Fuga movements are often brief, but allow for great interplay between the two violins, particularly noticeable in the seventh sonata. These are exquisite sonatas, and from the performances here, it was easy to see how much the players have taken this music to heart.

Meister, J. F. 2016. Il giardino del piacere. Ensemble Diderot, Johannes Pramsohler. Compact Disc. Addax Records ADX 13705.

Sergei Prokofiev’s (1891-1953) three Piano Sonatas, Nos. 6, 7 and 8 were completed between 1940 and 1944, although he had begun work in 1939, and they are perhaps understandably collectively known as the ‘War Sonatas’ (although when he composed the first of these, the Soviet Union were still to enter the war).  Prokofiev didn’t necessarily conceive them to be performed as a trilogy, but there are clear links between them, both in specific detail such as the ‘fate’ motif which crops up in all three, but also in emotional depth and content, and world events of the time are never far from one’s mind when hearing them.  There is a consistent mood of conflict here, never fully resolved, with moments of highly disturbing tension.  Even in the more romantic calm of the 8^th Sonata, fate is still present, although perhaps there is a hint of happier thoughts, given that Prokofiev dedicated this sonata to Mira Mendelssohn, for who he left his first wife and family in 1939.  Peter Donohoe gives the slow movement in particular of this sonata full lyricism and weighty emotion.  In total contrast, his finale of the 7^th Sonata is truly exciting and he gives the incessant repeated notes real energy and drive.  Yet it is in the 6^th Sonata’s slow movement that Donohoe achieves the most disturbing combination of moments of surface lyricism over dark, ominous harmonies, before showing total command in the relentless toccata-like finale.  There is a darkness throughout these works that is sometimes lost in performances that focus purely on the virtuosic demands – of which there are many – and Donohoe is able to fully exploit the complex undercurrents of these great works. Donohoe recorded the 7^th Sonata a staggering 33 years ago, and then again with the other two War Sonatas in 1991, and these performances were acclaimed at the time.  So he has clearly lived with these sonatas for a long time, and having recorded the other six sonatas in two previous volumes, it is perhaps significant that he has saved the War Sonatas for last in this highly authoritative complete cycle.

Prokofiev, S. 2016. Piano Sonatas volume III. nos. 6, 7 & 8. Peter Donohoe. Compact Disc. Somm SOMMCD 259.

Violinist Tasmin Little has brought three little known works for violin and orchestra by English composers to her latest recording with Sir Andrew Davis and the BBC Philharmonic.  First comes the lyrical Concerto, Op. 80 by Samuel Coleridge-Taylor (1875-1912).  Born in London to a male medical student from Sierra Leone and an English woman, he trained as a violinist and composer from an early age at the Royal College of Music, but in his latter years became successful in the US, where he was rather dubiously dubbed ‘the black Mahler’ on account of his impressive conducting.  His most successful work, Hiawatha’s Wedding Feast, was for many years a staple of British choral societies, yet little of the rest of his music is regularly performed today.  His first version of his Violin Concerto used a number of African-American melodies and spirituals, with a finale based on ‘Yankee Doodle’.  However, he changed his mind, completely rewriting the work using his own melodic material instead. A Dvořák-esque flavour remains, à la New World Symphony, but the touchingly lyrical slow movement has real inspiration. The finale is full of joy and spirit, and Little enjoys the syncopation and use of the violin’s upper reaches here.  Frederick Delius (1862-1934) composed his Suite for Violin and Orchestra in Paris around 1888, and its four movements have a beautiful simplicity in their individual characters.  An opening lyrical Pastorale is followed by a dancing Intermezzo. The song-like Élégie contains some lush brass writing, but this is basically a chance for the violin to sing in an unashamedly romantic fashion – and Little exploits this to the full.  The Finale has a rather conventional feel, with less of an individual Delius voice, but is not without interest. Finally, we have a Concerto from Haydn Wood (1882-1959).  Yorkshire born, he grew up on the Isle of Man, but like Coleridge-Taylor, studied the violin from an early age at the RCM, also studying composition with Stanford. Perhaps more famous for writing songs (eg. Roses of Picardy), musical comedies and light orchestral music, he nevertheless produced a small number of larger scale works, of which the Violin Concerto is one.  This is warm, romantic music, without any edge – yet with moments of deft touch in orchestration, such as the use of harp in the opening movement, and the exquisite horn solo at the beginning of the slow movement leading to the violin’s first entry.  Little is supported throughout by warm and sensitive playing from the BBC Philharmonic, Davis keeping tempi moving to avoid overindulgence.

Various. 2016. Tasmin Little plays Haydn Wood, Samuel Coleridge-Taylor, Frederick Delius. Tasmin Little, BBC Philharmonic, Sir Andrew Davis. Compact Disc. Chandos CHAN 10879.

(Edited versions of these reviews first appeared in GScene, July 2016)