Cambridge Philharmonic Orchestra
A Musical Adventure for Children
West Road Concert Hall
Sunday 10 February 2008

Following last year’s highly successful excursion into the land of Harry Potter and various others, the Cambridge Philharmonic Society’s Orchestra was rewarded with another well-deserved double sell-out at West Road.

This time, the stewards and attendants (drawn from the Phil’s chorus) appeared in costumes appropriate to the music. These ranged from Indiana Jones and a huge, cuddly bear allegedly in hot pursuit of a demure victim to a hostess from an airline new to me bearing the name of Jonathan Dove, the Philharmonic’s featured composer of the year.

It’s nice to report that Mr Dove was present to hear the orchestra perform the finale from his opera Flight. In this, the stewards led the audience contribution, rehearsed with zest and performed with vigour under conductor Tim Redmond, in singing a cheerful Goodbye to the departing passengers.

We were not involved, sadly, in Rita and the Wolf, Mr Dove’s witty accompaniment to Anthony Horowitz’s entertaining fable warning that Frail Little Grannies are Not Always What They Seem. This was narrated by Simon Butteriss, who entered into the spirit of the afternoon with great zest and impeccable diction.

Another composer also took a bow − young Jake Howarth, the winner of the 2006 Cambridge Young Composer Competition. Jake is apparently a fan of Doctor Who, so in response to a commission from the Phil for the occasion, he composed a stirring and at times sinister March of the Time Lords. As the piece showed a promising gift for rich orchestration, I would hazard a guess that he is a fan of Mahler as well as Doctor Who.

Tim Redmond never has any problems introducing music to any audience. His obvious enthusiasm and his enviable communicative skills were very much in evidence as he told the audience (which, as far as I could see, ranged in age from about six weeks to over 80 years!) what to expect in each item.

What some of them, I rather fancy, did not quite expect was the volume of intense, well-focused sound that the Phil Orchestra can produce. Tim has imbued them with a rhythmic verve, a dash, a discipline and a self-confidence that suited the programme well. So much so that during the final item, John Williams’ Raiders March on the them from Raiders of the Lost Ark, inspired one enthusiastic young lady not far from where I was sitting to set up as a rival conductor in the aisle. (She kept excellently in time with his beat too.)

The programme also featured a dashing and atmospheric performance of the Prelude and the March of the Toreadors from Carmen. Clearly the Phil Orchestra is on a roll!

Notes for editors

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