Guest conductor Cristian Măcelaru tonight led the Hallé in an enjoyable evening’s entertainment with a programme which took us on a journey from the film music-esque sounds of Vaughan Williams’s Wasps Overture via the elegiac, lost world of Elgar’s Cello Concerto, closing in the second half with a surefooted performance of Beethoven’s “Eroica” Symphony.
The Hallé carried their usual polished sound throughout and whilst never spectacular in terms of execution, there was a sense here that in Mark Elder’s absence the orchestra has a capable pair of hands available to lead them as and when required. Commencing the performance was Vaughan Williams’s 1909 work, his first of only a handful of experiments with incidental music. The piece had been composed for a production of Aristophanes’s The Wasps at Trinity College, Cambridge.
In 1908 Vaughan Williams took lessons in Paris with Maurice Ravel where he undertook three months of study around orchestration. Listening to this work, although there are hints of that French maestro’s influence, as the piece develops it becomes archetypal of Vaughan Williams’s own style. An opening buzzing – starting with trills in the woodwind – begins spreading through the orchestra, hovering, darting and prevaricating. The influence of French Impressionism is there in the background, however once the writing moves beyond the opening trills, it all becomes very English-sounding. Under Măcelaru’s assured direction, the piece flowed smoothly throughout, with great care given to lush phrasing in the strings and gentle dynamics adeptly observed when called for.
This is music very much of its time – pastoral and wistful, redolent perhaps of an old England which was swept away in the horrors of World War I, and it is a rumination on this theme which led neatly onto the next item on tonight’s agenda – Elgar’s ever-popular Cello Concerto in E Minor. Regarded as his last significant work, the Concerto quickly became a bedrock of the solo cello repertoire. Elgar created his composition in 1919 amidst the aftermath of the First World War at a time when his music had started to fall out of favour with contemporary audiences. Offering a direct contrast with the sounds of his earlier Violin Concerto (a more melodious and ardent work) the Cello Concerto has a mournful and melancholic character running throughout, likely reflecting the composer’s state of mind during this period.