Unfamiliar work steals the show

Sandwiched between two well-known romantic works it was the relatively unfamiliar saxophone concerto by Alexander Glazounov which nevertheless stole the show at this City of Peterborough Symphony Orchestra concert. This well-constructed piece rolls four contrasted movements into one, includes a spectacular cadenza, and culminates in an impossibly high top E flat.

In the concerto saxophonist Gillian Blair added a professional gloss to the music-making, giving a flawless and accomplished performance and making a persuasive case for the Russian composer’s work. Resplendent in a burgundy dress which threw into relief her brightly shining, silver-plated alto sax, Gillian excelled in shaping the long lyrical phrases of the piece. To the extent that potential problems of breath control simply didn’t exist. She was equally at home dealing with the many examples of fast and furious passagework, her fingers flying over the saxophone keys with astonishing velocity.

It’s good to report that the strings of the orchestra were at their best in the concerto, sensitively guided in their accompanying role by conductor Steve Bingham. Particularly satisfying was the opening unison with no less than three double basses adding depth to the texture. Immediately before the concerto, towards the end of Humperdinck’s Hansel and Gretel Overture, there had been some spirited playing as the conductor worked hard to achieve unanimity and precision.

As an unexpected but welcome encore after the Glazounov, Gillian Blair and the orchestra played a short piece by Astor Piazzolla. Called Oblivion it provided another opportunity to experience Gillian’s mellow sax tone as the instrument rode effortlessly over the strings in music that hinted at the rhythms of the tango without ever stating them explicitly.

After the interval it was time for Dvorak’s 9th. Often known as the New World Symphony because it was composed in the States, the subtitle is relatively misleading as it would be hard to find a work more grounded in Central European traditions and sonorities. Even though the negro spiritual Going Home was later arranged from the main melody of the slow movement.

Throughout the four movements of this famous work with its galaxy of beautiful tunes, some of them highly dramatic, some disarmingly innocent, Steve Bingham chose speeds which allowed the music to unfold like an unhurried story. There were occasional exceptions however where the pace became a trifle relentless with some of the woodwind solos sounding scrambled. Here just allowing the players a little more time to deliver their notes would have made all the difference.