Clarinettist gives virtuoso performance with panache and... a smile

Henley Symphony Orchestra summer concert
St Mary’s Church, Henley
Saturday, June 29

HENLEY Symphony Orchestra’s concert on Saturday evening included three interesting and contrasting orchestral pieces.

The first two were written in the 19th century and conformed to classical expectations.

Edvard Grieg’s well-known Peer Gynt Suite, written in 1875, was followed by Weber’s Clarinet Concerto No.2 in E flat major, premiered in 1813.

These were an interesting foil for the third piece, Shostakovich’s challenging Ninth Symphony.

The masterful conductor was Jacques Cohen and the fabulous solo clarinettist Emma Johnson.

Grieg, a Norwegian composer, created the Peer Gynt Suite from the incidental music he had written for Ibsen’s play of the same name. This was composed at a time of political activism as Norway sought independence from Sweden, ambitions supported by Grieg.

The five contrasting pieces in the suite tell a somewhat rambling adventure story that includes a bride’s abduction, a mother’s death, an Arab chieftain and, of course, the Hall of a Mountain King.

Morning was played lyrically with the strings improving in cohesion and with beautiful contributions from the wind section.

The slow and controlled playing in Åse’s Death was effective. As the piece progressed, the players’ sensitive, muted playing under the conductor’s control led to an impressive diminuendo.

For me, the second item of the programme was definitely the highlight of the evening.

Johnson is an eminent and popular clarinettist with an impressive CV and Weber’s Clarinet Concerto No 2 in E flat major was the perfect showcase for her extraordinary skill and musicality.

It has three movements, Allegro, Romanza and Andante con Alla Polacca, a fiery dance performed with great technique and style.

There is a startling clarinet entry on a high F which immediately drops three octaves. This dramatic entry heralded Johnson’s virtuosic performance, covering an enormous range on the instrument, fast scaled and arpeggio runs, trills, ornaments and lyrical playing.

Throughout the technical brilliant fireworks, she maintained a beautiful tone and created a warm connection with the audience.

All movements were played with great panache, with a smile, and her performance with the orchestra was greeted with well-earned rapturous applause.

After the interval, Shostakovich’s complex Symphony No. 9 in E flat major was an interesting choice.

He was asked to write this symphony to celebrate Russia’s victory over the Nazi army during the Second World War.

Russia’s achievements during the war were significant but in helping to defeat the Nazis, it is thought that between 10 and 20 million Russians were killed, the largest number of casualties of any country.

The symphony premiered in 1945 and at first, the work was praised but then some observers started to suggest that this music, which is far from triumphal, reflected not Russia’s victory but Shostakovich’s negative view of Stalin. It was not performed again until after Stalin’s death.

The first movement conveys victory through march-like music.

However, Shostakovich was aware of the horrendous cost of people’s lives and although the piccolo bounces along, discordant notes start to appear.

The second movement, Moderato, is characterised by some beautiful, haunting tunes that create calm, respectful and reflective parts, mourning the lost Russians.

In the nippy third movement things started to get a bit wild before calmer passages that included a lovely solo bassoon against the murmuring strings.

The fourth slow and thoughtful part precedes the most challenging passages before the abrupt end.

This was a demanding piece which Henley Symphony Orchestra tackled with relish, urged along by their excellent conductor. A magnificent ending to an enjoyable evening.

Susan Edwards