Guernsey Symphony Orchestra - Summer Serenade Concert Review

I must confess a certain trepidation as I settled down in St. James to listen to the Guernsey Symphony Orchestra’s ‘Summer Serenade’ concert, kindly sponsored by Credit Suisse, on Saturday 10th July 2010. More familiar with choral music I rather expected something serious, highbrow and altogether difficult. Igor Stravinsky’s playful and mischievous Ballet Jeu de Cartes tore the first strip off my misconceptions. Written in 1936 and first performed by the American Ballet the three movements of the ballet mirror a game of cards, each movement representing a deal.

A ballet without dancers is an unusual concept, but one which the Guernsey Symphony Orchestra made quite enthralling. From the wilful cacophony of the Joker’s dance in the first movement, smashing through the tranquil flute solo. the stately entrance of the four Queens in the second deal and the final battle between the Joker and the Hearts in the third movement, Ballet Jeu de Cartes quivered with dramatic energy.

Harp soloist Lucy Wakeford joined the orchestra to perform Joaquin Rodrigo’s Concierto Serenata for harp and orchestra. Evocative of a Spanish fiesta, Rodrigo stated that he wanted “to make the entire work light, clear and joyful, like the harp’s child-like soul”. This compelling piece certainly displayed the versatility and range of the harp. While the harp is well known for its poise and delicacy, it was a revelation to hear the strength and depth of sound produced by Wakefield. This was particularly apparent during the extended and sumptuous harp solo in the first movement. Throughout the whole Concierto guest conductor Richard Balcombe kept a careful balance between the harp and orchestra; ensuring that at no point did the orchestra threaten to overwhelm the harp, but that the music instead ebbed and flowed, as the theme passed between the orchestra and harp.

Antonin Dvorak’s Symphony No. 8 in G major, op. 88, which comprised the entirety of the concert’s second half, was stunning. The Guernsey Symphony Orchestra’s performance gave an invigorating immediacy and freshness to Dvorak’s familiar themes. The orchestra, moving as one coherent unit, clearly enjoyed playing the symphony. Vividly evocative of 19th century Eastern Europe, the whole orchestra demonstrated a complex understanding of the dramatic, as well as technical, demands of the work. For example, the first violins led by Roger Coull seemed physically entwined in the music, leaning into the rhythm of the seductive waltz that introduced the third movement, while the fourth movement featured a fascinating, rapid ascent of strings and flute, like the wind ripping though treetops, which was countered by a dominate volley from the brass.

Maybe it is the passion of a convert, but I really feel unable to do justice to the Guernsey Symphony Orchestra. My only advice is, should the opportunity arise to hear them play, go. Drop whatever you are doing and go. They bring music to life and recreate it for the 21st century. They work magic.