Norfolk Symphony Orchestra

Hollywood might seem an unlikely theme for a concert by a symphony orchestra, but clever programming by music director Alexander Walker provided an exciting finale to the 2008-2009 season. Mr Walker brought together works by three American-born composers who were offspring of immigrants from Europe plus Korngold who was a refugee. They borrowed from jazz and traditional American music to create works which have a close relationship with film.

Korngold, renowned for his film music, also wrote a concerto which was performed to great acclaim by Matthew Trusler, who is considered one of the most exciting virtuoso soloists of his generation. The film influence required a variety of extra instruments from vibraphone to tubular bells, to reflect the colour and mood of the films. The bustling atmosphere of Paris launched the concert in Gersh-win's lively An American in Paris. The American theme continued with Copland's stirring Fanfare for the Common Man, which offers no hiding place for any errors.

The inspired programme concluded with a pulsating performance of Bernstein's Symphonic Dances from West Side Story. The exciting jazz and Latin rhythms were played with vigour and relish by the 90 musicians.

Alison Croose "Eastern Daily Press" Monday 18/06/09

It was with great pleasure that I accepted the invitation to review the Norfolk Symphony Orchestra on Sunday, March 16, at Lynn Corn Exchange. It was also very encouraging to see that the theatre was packed with an excited audience full of eager anticipation. It has been a number of years since I last heard this orchestra play but I was delighted to see some familiar faces as well as many new ones. I wasn't to be disappointed; as the afternoon progressed I discovered what incredible musical talent we have in Norfolk lead by an impressively dynamic musical director and joined by the stunning voice of soprano, Alwyn Mellor.

The concert opened with the Fantasy Overture from Romeo and Juliet by Tchaikovsky. This well-known piece was beautifully performed, technically faultless and successfully achieved the bittersweet feeling of this piece of music. I was transfixed from the gradual build up in the opening through to the haunting melodies and on to the final dramatic cadence.

The second piece introduced the fabulous soprano voice of Mellor whose recent engagements have included the title role in La Wally for Chelsea Opera Group as well as major parts with Opera Ireland, Welsh National Opera and at the St. Endellion Festival, as well as Mozart concert arias with the BBC Philharmonic. This was a composition by Mahler, yet another romantic composer, called Ruckert-Lieder; a group of songs based upon folksongs and folksong-like poems by poets von Arnim and Brentano. These five lyrical songs showed the instruments of the orchestra interweaving beautifully with the voice to produce an enchanting showcase for this incredible soprano.

The third piece was probably my favourite and was summed up at the end of the performance by a lady in the audience close by who simply said: "WOW!". My sentiments exactly! This piece was in two sections the Prelude and Liebestod from Tristan and Isolde by Wagner. The Prelude was a challenging piece for the orchestra with a never-ending flow of increasing intensity and some complex key changes which were coped with admirably. From the tragic opening by the cellos to the beautiful haunting melodies on the oboe, this was a never-ending piece of mastery. When the soprano voice joined with the transfiguration the Corn Exchange audience was mesmerised. Mellor made this seem so gracefully effortless and had the audience hypnotised by the sheer-beauty of her voice.

The final piece was Death and Transfiguration by Strauss and it enabled the orchestra to show off a vast array of sounds and moods from the delicate opening by the violas, through the enchanting solos by the oboe and the exquisite tone of the lead violin to the fantastic awakening from the brass section. A delightful afternoon for everyone present. Allison Skipper "Lynn News"

New music director Alexander Walker broke the traditional concert mould in order to introduce the amazing voice of soprano Alwyn Mellor. The audience's rousing reception signalled their delight at witnessing an artist who earns rave reviews for her operatic performances all over the world. Instead of the usual concerto sandwiched between an overture and a symphony, Walker changed the concert's framework to accommodate the soprano. The resulting programme was made up of masterpieces focused on the composers' thoughts on love and death, a favourite Russian theme which made Tchaikovsky's Fantasy Overture to Romeo and Juliet one of his most popular works. Continuing the theme of text and literary inspiration, Mellor gave stirring performances of five songs based on the poetry of Friedrich Ruckert, and then Wagner's Prelude and Liebestod: Tristan and Isolde, the passionate story of an illicit love. The concert concluded with a unified work which does not fit easily into the conventional programme. Strauss composed Death and Transfiguration in the form of a dramatic and emotional tone poem representing the dying hours of an artist. The orchestra enhanced their reputation as they rose to the new challenges.

Alison Croose "Eastern Daily Press" Monday 17/031/09

Another chapter in the orchestra's history began with a new season and a new music director, Alexander Walker, who is enjoying an illustrious career but is also committed to working with amateurs. The opening bars of Glinka's overture Ruslan and Ludmilla immediately indicated that the orchestra relished this golden opportunity. Alexander Walker is continuing the NSO tradition of combining well-loved favourites with less familiar works and featuring exciting young performers. The audience welcomed gifted young Italian pianist Marco Fatichenti who demonstrated his sensitivity and virtuosity in Mozart's piano concerto in A major. The orchestra continued its exploration of works by Shostakovich, a composer much influenced by his experiences. His monumental eighth symphony was written during the latter stages of the war, hence its doom-laden aura. The symphony presents a huge challenge for both orchestra and audience, but it was a very impressive performance.

Alison Croose "Eastern Daily Press" Monday 17/11/08

James Stobart brought the curtain down on his 14 years as music director of the NSO in style by indulging in his favourite music. Fortunately, his musical taste met with the approval of the orchestra's large audience who shared the emotional swansong.
His programme opened with Ravel's sublime Pavane for a Dead Princess and continued in contemplative mood with Strauss's Four Last Songs expressively delivered by soprano Louise Cannon. She is one of many outstanding young soloists Stobart has introduced to NSO audiences.
The best was yet to come: Saint-Saens' glorious third symphony. If only we could all have such a wonderful piece of music played live to mark our retirement! But Stobart did have to sing for his supper and, as always, he drew the best from the orchestra which revelled in the grand scale of the work. Key to its success is the role of the organ and John Lyon made his mark playing the huge instrument he built and brought from Lincolnshire for the occasion. Stobart could not have had a better send-off, directing a wonderful concert and then being honoured with a well-deserved standing ovation.

I was unsure whether Norfolk Symphony Orchestra conductor James Stobart was indulging himself, the orchestra, or us with Sunday's repertoire in his penultimate performance as leader of the orchestra. It was, in fact, probably actually Jim just maintaining the high and challenging standards he has maintained for the NSO in the decade and more he has been leading it. We were first wooed with the sultry, balmy summer's afternoon piece, Prelude a L'apres-midi d'un Faune by Debussy. As ever, it was necessary to remind oneself this is an amateur orchestra. A fact made most incredible with their playing of a Shostakovich number led by a magnificent Soojin Han as guest soloist for a second time with the orchestra. And what better to stun us with than a heartbreaking rendition of the violin concerto with a simply extraordinary solo cadenza. Her touch was breathtaking and confirmed Mr Stobart's introduction of her as a sensational violinist. Having stunned us with the Shostakovich, we were brought back, dreamily, to earth with a solid performance of Tchaikovsky's Symphony 5. Let us hope the orchestra's future leader, Alex Walker, who was in Sunday's audience at King's Lynn's Corn Exchange, continues the good work with the passion and dedication of Mr Stobart.

Elaine Maslin "Eastern Daily Press" Tuesday 20/03/08

Music, performance and direction to stir the soul!

The central work in the Norfolk Symphony Orchestra concert at Lynn's Corn Exchange, on Sunday, March 16, was Shostakovich's Violin Concerto No 1, a challenging work for both orchestra and soloist. Three years ago Korean born violinist, Soojin Han, made her first appearance with the NSO while still a teenager, and completely won over the audience with her prodigious talent as she was starting to climb the ladder of success. She is now well up that ladder, having played with many great orchestras and in many major concert venues across the world.

What can one say about this young lady? Words cannot convey the sheer brilliance of her technique and depth of musicality, which can only be described as soul-stirring, as she responded to the aforementioned challenges of the work, for ever as one with the NSO, as they responded to the inspired direction of musical director, James Stobart. From the opening chords all were deeply involved with the work, and especially during the extended solo cadenza the orchestra's concentration was almost palpable. Throughout, Soojin Han produced a liquid tone, as she built up the tension with virtuosic playing, often required to be reflected by the orchestra in a performance, par excellence, to which the audience responded with an extended ovation and numerous calls.

The concert had opened with Debussy's Prelude a L'Apres-Midi d'un Faune, which, after opening with a haunting flute solo, develops into a beautiful example of "music portraying colour, mood and eroticism" (I acknowledge the programme for this phrase), throughout which various orchestral players displayed their individual talents. For the second half of the concert the orchestra reverted to a work from the standard concert repertoire - Tchaikovsky's glorious Symphony No 5. This work has been performed by every great conductor and orchestra, most of them also recording it. Therefore, it may have been considered very bold of the NSO to tackle it, and to be compared to these musicians. No apologies need to be made. The orchestra was on absolutely top form throughout, as every section displayed outstanding musicianship, producing a performance which brought great, pleasure and satisfaction to the audience, and for which they were, rightly, acknowledged by the conductor and the audience.

David Johnson "Lynn News" 21/03/08

After 12 years, 80 concerts and 325 rehearsals, James Stobart has embarked on his last season as music director of one of the UK's leading amateur orchestras. But his swan song has only just begun and he has pledged to take the orchestra to even greater heights before he steps down on his 70th birthday next May. He began that farewell journey by demonstrating the orchestra's musicianship and his own talents as a director.

The programmes for his final concerts include some of James Stobart's favourite music, starting with the overture Roman Carnival by Berlioz with its extrovert qualities which provided a dramatic opening.

This season also features the return of some favourite soloists. The combination of pianist Sophia Rahman and Rachmaninov's master-piece, Rhapsody on a Theme of Paganini, was a delight. Sophia demonstrated her skill in handling the work's technical challenges, playing with a sensitivity which shone particularly in the sublime romantic variation 18.

Shostakovich's stormy and intense Fifth Symphony, one of the greatest works of the 20th century, put great demands on both musicians and audience. The orchestra rose to the challenge and delivered a performance which earned an enthusiastic reception.

Alison Croose "Eastern Daily Press" Tuesday 20/11/07.

Some 18 months ago, an extremely talented young pianist, Sophia Rahman, appeared in Lynn as a soloist with the Norfolk Symphony Orchestra, receiving acclaim from all quarters after the performance. Now firmly established in an international career she is in the forefront of an exclusive group of outstanding young musicians appearing on the concert platforms of the world. Perhaps it was the anticipation of a return visit that resulted in "sold out" notices being posted outside the Corn Exchange when the NSO returned for its concert on November 18.

Sophia Rahman was the soloist in the central work of the concert, Rachmaninov's Rhapsody On A Theme Of Paganini, where, from the opening bars, she displayed her prodigious talent with articulate fingering as she immersed herself completely in the work, as evidenced by the smile that frequently played on her lips. She was immediately at one with the conductor, James Stobart, and the orchestra as they supported the soloist notably. There was rich string playing in variation 18, the best known (I understand that this beautiful Andante Cantabile was achieved by the simple expedient of turning the original theme upside-down). Following the final moments, when an almost aggressive orchestral section concluded the work, the soloist received a rapturous ovation from the capacity audience, and the orchestra.

The concert opened with a thrilling rendering of Berlioz's overture Roman Carnival in which James Stobart drew from the orchestra all the colours of this exciting work with all of its changes in tempo, and its advanced scoring which had helped to confirm the composer's compatriots in the belief that he was truly eccentric, if not mad (my thanks to the programme notes for this information).

Shostakovich's Symphony Number Five made up the second half of the concert and we are told in the programme notes that this work is the composer's musical statement of anti-Stalinism. A fact that becomes obvious as the work progresses. Throughout, the work is dominated by the string section with violins divided into three parts. Other instrumental sections contributed as the meaning of the work unfolded. This included a doleful melody from the cellos in the second movement and a pizzicato violin theme. In the third movement the lower strings contrasted with pianissimo flute and harp. After more sweeping string melodies, brass and percussion brought the work to a boisterous conclusion. This work demanded a great deal of commitment from conductor and orchestra which was always forthcoming in what was an experience rather than enjoyable, leaving the listener drained. How the players felt, I cannot begin to hazard a guess.

David Johnson, "Lynn News"

With a dollop of Britten the NSO was giving its audience a bit of an education yesterday, for it was the first time the amateur orchestra had performed a piece by the composer. The Sea Interludes of his opera Peter Grimes was played with great gusto, dramatism and evocation. The orchestra came alive with the Storm, the brass and percussion sections providing a stonking boom to the stirring music which saw the bows of the string sections jumping like they were on the deathbed ocean that was the opera's main character's fate.

But the piece was outdone by both the orchestra's and pianist's performance of a more widely popular piece of 100 years previous. Soloist Samantha Ward, on the piano, was dazzling playing Schumann's Piano Concerto, led by conductor James Stobart. For the finale, Sibelius' First Symphony, the orchestra again outdid itself, setting its standards even higher. The more gusto the piece called for, the more they triumphed.
Elaine Maslin "Eastern Daily Press" Monday 21/5/07.

Some years ago a retired professional concert pianist told me that Schumann's Piano Concerto was her favourite and that this was also the case with many other concert pianists. This delightful work was the centre piece of the concert given by the Norfolk Symphony Orchestra at Lynn Corn Exchange, in their final concert of the current season. The soloist was Samantha Ward, now well established in her solo career both in this country and across Europe. She displayed her outstanding technique and sensitivity throughout the work, being completely immersed in it, while music director James Stobart guided the orchestra, blending together in a performance which left us with a warm inner glow.

The concert had opened with Four Sea Interludes from Benjamin Britten's opera Peter Grimes, with piercing chords from the high strings, and moving through the periods of the opera - Dawn, Sunday Morning, Moonlight and Storm - Britten's masterly orchestration conveying the moods of the sea around the Suffolk coast where the opera was set.

The second half of the concert was given over to the first symphony by Sibelius. Tchaikovsky is often thought to have influenced Sibelius's early music and in fact this symphony has been referred to as Tchaikovsky's Seventh with its sweeping melodies. The work puts great demands on all sections of the orchestra, to which they all responded admirably, as it moved inexorably towards its conclusion with a single pizzicato note. The standard of playing underlines James Stobart's achievements over his 12-year tenure. The NSO is now rightly considered as one of the country's leading amateur orchestras, such is its quality, as evidenced by this concert. He is retiring next May, and will be succeeded by Alexander Walker - who will be taking on an excellent ensemble, and will be facing a challenge to maintain its very high standard. David Johnson,

Sunday 18th March 2007

Triumphant return of stunning cellist

Thomas Carroll returned to Lynn to play with the Norfolk Symphony Orchestra at the Corn Exchange. Once again he displayed all those qualities evident in his earlier performance and showed why his career has taken him all over the world. The Daily Telegraph has described him as “having a tone of extraordinary richness, deep, dark and confidently projected”. This was apparent in his Lynn performance of Shostakovich’s Cello Concerto No 1……Thomas Carroll’s memorable performance of this challenging work has left me keen to hear it again. I hope it will not be long before he returns to Lynn.

The concert opened with Copland’s Quiet City, written as incidental music to a play of the same name. It is scored for strings, cor anglais (Deborah Cooper) and trumpet (Kevin Steward), and is a delightful piece described in the programme as a “little gem”, I heartily agree.

For the second half we were given Dvorak’s Symphony No 9, the New World. The string section is often described as the backbone of an orchestra. Never was this more so than in this performance with exquisite playing from them, as indeed was so from the whole orchestra. Music Director, James Stobart, drew from his forces playing that I have never heard bettered, with the orchestral colour, dynamics and clarity being outstanding, shedding a new light on this well known and popular work. David Johnson, "Lynn News"

Sunday 12th November 2006

Thrilling and animated

How times change! Two major works which were panned by the critics when they were first performed more than 100 years ago were much enjoyed when they launched the new NSO season.

All sorts of insults were directed at many of the great composers when their music was first heard - but, over time, their genius has been recognised and the NSO, conducted so efficiently by James Stobart, demonstrated just why Tchaikovsky and Mahler are now revered.

The star of the occasion was 20-year-old Soojin Han whose performance of Tchaikovsky's violin concerto - strongly influenced by Russian folk themes - really captivated the audience. She gave a thrilling and animated display of virtuosity, underlining exactly why she has already earned many awards.  Alison Croose, "Eastern Daily Press", Monday 13/11/06.  

Unplayable? More like a joyous experience in the hands of this 20-year-old violinist Unplayable was the dismissive opinion of the dedicatee, Leopold Auer, at the first sight of Tchaikovsky's violin concerto when presented with the work. He felt unable to tackle the technical difficulties presented by the work. Tchaikovsky's first piano concerto met with a similar response from Anton Rubenstein.) However, both works are now in the forefront of their respective repertoires. Unplayable is not a word known to Soojin Han, the 20-year-old Korean violinist who was the soloist in the concert given by the Norfolk Symphony Orchestra at Lynns Corn Exchange on November 12th, as she gave a sparkling rendering of the piece. Her fluency and exquisite tone amounted to an enthralling performance, with the aforementioned technical demands causing her no anxiety, as witnessed by the smile that played on her lips almost entirely throughout. She obviously inspired the orchestra as they played to their highest standard, as conductor James Stobart wedded soloist and orchestra into a memorable performance, with the soloist receiving a resounding ovation, with many calls, at the conclusion. Mahler's Symphony No 4 made up the second half of the concert. This was also met with hostility at its premiere, but is now generally regarded as Mahler's first accessible symphony. It opens with a recurrent sleigh-bell theme, progressing through sweeping melodies with an alpine character. Much of the work is such that the listener can simply relax and let the music wash over you. There were interesting features, such as the use of a large percussion section, and orchestra leader Jane Foottit using two violins, interchanging them periodically, I understand that one was tuned a semitone higher than the other to produce a more rustic tone. The final movement introduces verses from Goethes Des Knaben Wunderhorn, sung by soprano Michelle Walton. A delightful voice, singing in the original German, idiomatically. Once more the orchestra played at its peak, under the direction of James Stobart. David Johnson, "Lynn News", Friday 21/11/06.  

Sunday 13th May 2006

Breathtaking Sophia shines

The central work of Norfolk Symphony Orchestra's concert at Lynn's Corn Exchange, on May 14, was Prokofiev's Piano Concerto No 1. It was composed during his futurist phase, which was described at its premiere by the critics as "musical mud" because of its dissonances and energetic percussiveness. It certainly is a complex work with each section of the orchestra being, almost, Independent of the others. James Stobart, the conductor, must be applauded for the clarity of playing which he drew from his forces enabling the listener to hear which section was doing what. Making a welcome return was soloist Sophia Rahman, who had so impressed the audience at her previous appearance, with her immense talent. She is now firmly established in an international career. As she performed the solo part of the work, against the aforementioned orchestral accompaniment, her technique was breathtakingly articulate. As the Prokofiev is quite short, the soloist told the audience that she would give an encore, modestly, explaining that she had mainly chosen it as it was in the same key as he piano concerto. This was Liszt's Concert Study. Again her playing was breathtaking in this demanding piece with both orchestra and audience held in enthralled concentration. The concert had opened with Dvorak's delightful Symphonic Variations. This commenced with a slow and calm theme, progressing through 27 variations of mood and complexity before a rousing finale. Brahms' Symphony No 1 made up the second half of the programme. Before the concert, I was chatting to a professional musician (who shall remain nameless). He felt that this symphony was very challenging for amateur players, many of whom, in the NSO are quite young, unless they had played the work several times previously. There was no evidence of this on Sunday. From the sweeping string theme, which opened the first movement, the richness of the playing was memorable, holding one's concentration to the closing chords. I must pay tribute to the exquisite playing of Jane Foottit (leader of the orchestra) in her solo moments in the second movement of the symphony. This concert was yet another triumph for the NSO. David Johnson, "Lynn News", Friday 02/06/06.  

Sunday 13th November 2005

Performance with Passion

The orchestra launched its 35th season with a tried and tested format - but why change an interesting programme, a high standard of musicianship and an outstanding young soloist? Juliet Allen was the latest impressive young musician to appear with the orchestra. She fully justified the praise which has been heaped on her when she performed Beethoven's 4th piano concerto. The confidence of her performance underlined her virtuosity in the dramatic dialogue between piano and strings. The programme opened with a text from Shakespeare's Merchant of Venice heralding Vaughan Williams' Serenade to Music, originally written for 16 solo voices, but on this occasion spoken by NSO horn player Gareth Burnell. The orchestra completed its programme with a symphonic tour de force, Rachmaninov's 2nd symphony, in which conductor James Stobart lifted the orchestra to new heights with this popular work. The warmth of the audience's reception proved the success of a performance full of energy and passion in which the dynamic rhythms and the romance and emotion of Rachmaninov's music could be enjoyed to the full. Alison Croose, "Eastern Daily Press", Monday 14/11/05.  

Sunday 13th March 2005

Cellist tackles pressure with great aplomb

A young soloist must experience extra pressure when performing a high-profile concerto forever associated with a predecessor as renowned as Jacqueline du Pre. But 25-year-old cellist Richard Harwood showed no sign of apprehension and delivered the Elgar favourite with great aplomb. Knowing that he played the work when he made his BBC Radio 3 debut at the age of 13, it was no surprise that he gave a splendid virtuoso performance. As usual, the NSO programmes its concerts to provide plenty of interest and contrast. After the melancholy of the cello concerto, the audience was thrust into the hurly-burly of Bruckner's Fourth Symphony, the Romantic, Conductor James Stobart harnessed the orchestra's power to interpret the complexities of Bruckner's marathon work. The musicians, especially in the woodwind section and the horns - coped well with the demands of the symphony which must have left them, as well as the audience, tired but happy. Alison Croose, "Eastern Daily Press", Monday 14/03/05.  

Sunday 14th November 2004

Quality music is no surprise

A new season began with a set of surprises as the orchestra maintained its tradition of exciting programming combined with accomplished musicianship. As ever the stage was packed with musicians and the auditorium packed with concert-goers who were not disappointed by a programme - drawn from the late 19th and early 20th centuries - which was full of interest and executed in style under the direction of James Stobart. The stirring notes of Finlandia depicting the nationalist fervour of Sibelius's music gave the concert a powerful opening, paving the way for Dvorak's Violin Concerto featuring award-winning Laurence Jackson who has forged a career both as a soloist and a chamber musician. He demonstrated his skills in a work demanding great delicacy and sensitivity with its lyricism and Bohemian charm, building up to a series of vigorous folk dances in the lively finale. The subtleties of Dvorak contrasted starkly with the ear-splitting sounds of Shostakovich's tenth symphony written in the sombre atmosphere shortly after Stalin's death. Stobart gave full rein to the menacing power of the music reflecting injustice and persecution, and exploited the composer's lighter touches which make his works so exciting. Alison Croose, "Eastern Daily Press", Monday 15/11/04.  

Sunday 16th May 2004

Tra is outstanding as NSO delights

Born in 1885, George Butterworth was one of the bright lights of musical composition in that era but tragically, like so many others, that light was extinguished by a sniper's bullet at the battle of the Somme in 1916. His rhapsody, A Shropshire Lad, which opened the Norfolk Symphony Orchestra's concert at Lynn Corn Exchange, demonstrated just how brightly the light shone. Inspired by a poem by A.E. Housman, this was composed when Butterworth was aged just 27. It is, however, a work of great maturity, and the NSO captured its melancholy and poignancy with playing that was to set the standard for all the concert. Rachmaninov's 2nd Piano Concerto is almost certainly the world's most popular. The work is very Russian in character, with the broad, rich melodies known by almost everyone. Soloist, Vietnamese Tra Nguyen, gave a performance that was outstanding in every way and I can do no better than quote remarks from the programme: "Rich with poetry and lyricism, Tra's touch is profound, subtle, and at the same time deeply intellectual." Conductor James Stobart drew rich-toned sonorities and outstanding ensemble playing from the orchestra. Such was the ovation from the virtually capacity audience that the pianist returned to give an encore; a delightful prelude. As a lover of Borodin's music, I don't know what to say about his second symphony. I have never heard it before and some professional players present said they had never played it. Again, very Russian in nature, it also places great demands on the orchestra in all sections - demands to which all responded with great discipline and tonal quality. The concert was a great credit to all performers. David Johnson, "Lynn News", Friday 21/05/04.  

Sunday 14th March 2004

Brahms and Bartok Treat

This was a concert of two halves which demonstrated the pleasures of clever programming. After a display of splendid young talent - pianist Sarah Beth Briggs - there was a risk that the audience might wonder: "How can they follow that?" But then along comes Bartok, represented by his Concerto for Orchestra, and the delights of the first half could be savoured without spoiling the second. Sarah Beth Briggs made her mark on classical music when, at the age of 11, she became the youngest finalist in the BBC Young Musician competition. She is now an established performer. Brahms' Piano Concerto No 1 provided the vehicle for her impressive power and sensitive interpretation. As ever conductor James Stobart ensured the cohesion of soloist and orchestra. This achieved, he admitted in his programme notes to falling for Bartok as a student. No wonder the orchestra delighted the audience with a stunning performance of the Concerto. It was challenging, amusing and beautiful - a real treat. Alison Croose, "Eastern Daily Press", Monday 15/03/04.  

Sunday 9th November 2003

A policy of engaging outstanding young soloists continued to prove inspirational with the appearance of violinist Min-Jin Kym. This child prodigy, who began serious studies at the age of seven, was only 15 when she became the youngest student awarded a foundation scholarship at the Royal College of Music. At 25, Min-Jin appears with top orchestras around the world. But the Norfolk Symphony Orchestra, which includes vast expertise while nominally retaining amateur status, is never overawed by such burgeoning talent and got on with the job of ensuring its performance was worthy of supporting the soloist. The musicians responded to Min-Jin's skills with a fine performance of the Sibelius Violin Concerto. The work makes great demands on the violinist's technique in many highly complex passages while conductor James Stobart created a successful partnership between soloist and orchestra. In contrast with the intensity of the concerto were two refreshingly different works. The overture was Tintagel, by London-born Arnold Bax, which painted an atmospheric picture of the Cornish landmark. The concert ended in great style with Rachmaninov's exhilarating Symphonic Dances with all their exciting melodies and rhythms. James Stobart ensured the orchestra transmitted all the warmth and feeling of a work which enabled each section to show off its talents.
Alison Croose, "Eastern Daily Press", Monday 10/11/03.  

Sunday 18th May 2003

Outstanding performances

Continuing its policy of pushing out the musical boundaries for players and audiences alike, the central work was Bartok's Piano Concerto No 3, written in the last year of the composer's life with the final 17 bars unfinished to be completed by others. Owing to the indisposition of Lora Dimitrova, the soloist was Australian pianist Louisa Breen. She gave an outstanding performance of this demanding work. The orchestra and soloist rose to the challenge in the contrasted and intriguing movements, moving from beautifully relaxed strings accompanying the delicate solo line, gradually building up to a vigorous final movement. Such was the tumultuous response from the audience that we were given an encore - a movement from Bartok's Dance Suite for solo piano. Verdi's Force of Destiny Overture opened the concert in a performance that can only be described as magnificent. It is often said that the backbone of any good orchestra is the string section. Never was this more so, most notably in the final work - Brahms' Symphony No 4. Conductor James Stobart imbued his players with such warmth and enthusiasm that this was a rendition which left the listener with a warm glow, despite the conductor entering on crutches following an accident and conducting from a chair, neither inhibiting him in any way. David Johnson, "Eastern Daily Press", Tuesday 20/05/03.  

Magnificent performance from the NSO

On previous occasions I have remarked that it does not seem possible that the Norfolk Symphony Orchestra is not a professional body. This view was reinforced from the opening chords of the first work in their concert at Lynn Corn Exchange, the overture to Verdi's The Force of Destiny. Such was the quality of tone and unanimity of ensemble, in a performance that can only be described as magnificent, and which set the standard for the remaining works of the concert. With Bartok's Piano Concerto No 3, the orchestra continued its policy of pushing out musical boundaries for both players and orchestra.The success of this must be judged from the tumultuous response from the audience, following a performance of great sensitivity and technical brilliance from young, Australian pianist Louisa Breen (replacing an indisposed Lora Dimitrova). Her articulate fingering was breathtaking in this demanding work. Conductor James Stobart drew outstanding playing from his forces, as he moulded soloist and orchestra into a seamless entity, and certainly made me wish to hear the work, and the artist, again. The generally held view that the string section is the backbone of any good orchestra was reinforced in the playing of Brahms' Symphony No 4. This work has not always been universally popular, but James Stobart imparted such warmth and enthusiasm to the orchestra that the performance left the listener glowing. All this was achieved despite the fact that, following an accident, the conductor entered on crutches and conducted from a chair. This in no way inhibited him or players! David Johnson, "Lynn News", May 2003.  

Sunday 16th March 2003

Sophia provides a real treat

Every NSO occasion incorporates a very special treat, and this time it was the performance by Sophia Rahman of a Shostakovich piano concerto. She won many admirers at last year's Lynn Festival and it was good to have the opportunity to witness the highly talented young player interpreting the second piano concerto with such brio.