Ealing Symphony Orchestra / John Gibbons

This concert, given by the Ealing Symphony Orchestra, conductor John Gibbons, at St Barnabas Church, London on July 8, began in rousing fashion.

Dvořák seems to have sought to emulate his older countryman, Smetana when choosing a strongly nationalistic spirit when completing a commission for, intiially, a trilogy based on the life of Jan Hus, a Bohemian religious leader involved in pre-Reformation struggles in the 15th century. In the end he only wrote this Hussite Overture (1883).

The result in concert comes close to the more blatantly national sounds we hear in some of the less well-known tone poems in Ma Vlast, by Smetana. The orchestra, under the strong leadership of Gibbons, entered into the fray whole-heartedly, with attention to the darker side of events as well as some table thumping needed to make the points the composer aimed at with his audience at home.

Shostakovich wrote his Piano Concerto No. 2 for his son, Maxim’s, 19th birthday in 195. He chose that there be no need to probe too deeply into the human psyche with which we associate him in his best symphonies. Instead, he wrote a warmly expressive work that has become one of his most popular today. Maria Marchant clearly believes in allowing the music to speak for itself and gave an inspiriting rendition closing with the delightful fleet-footed finale. Her encore, recalled from her school days, was also well received as well.

William Walton’s First Symphony (1935) is heavily modelled on Sibelius’s Third, Fourth and Fifth symphonies but still strikes out with its own personality in a forceful way. Regarded today as one of the great English symphonies it was accorded a performance of such dark, often loud intensity that the roof of St Barnabas was threatened more than once. During this marvellous view, coming from the experienced baton of Gibbons, honesty say the audience was shaken and stirred.

As someone brought up on the classic Previn recording, full of frenetic excitement, in contrast Gibbons slowed everything down to allolw the music’s sheer power to display its overwhelming emotional effect. This must be an exhausting work for the players as Walton offers little respite in all but the contemplative slow movement. They rose to the challenge brilliantly; no need for unnecessary virtuosity in the darkly malicious scherzo, just attention to detail and a strong stomach. The crashing chords at the very end heralded a welcome relief after so many emotions, so well described in the programme as “relentless agitation, sneering malice, forlorn melancholy and triumphant swagger”. Is there another symphony taht can be described so accurately?

Edward Clark for Musical Opinion, January — March 2024.