Who better to embroider fantasy adventures than Strauss’s Til Eulenspiegel?
This rumbustious character is vividly portrayed, creating splendid opportunities for all players to shine, and conductor Michael Seal to inspire with energy and imagination.
Torrents of prestissimo notes, ferocious fortissimo octaves and copious sparkling fireworks throughout Liszt’s Second Piano Concerto were the perfect vehicle for Peter Donohoe’s matchless demonic talents.
Bravura elements were hair-raisingly electrifying, but there were notable passages of heart-stopping solos from cello and horn, when the piano accompaniment threatened to overshadow lovely playing. Were original audiences stupefied into silence by the copious piano glissandi and grandiose finale, or as here, did they go suitably crazy after the final mad bars?
Seal truly captured the haunting eerie tale of Dvorak’s Water Goblin ably abetted by finely-tuned woodwind teamwork, vivid brass and well-balanced top quality string playing.
More death in Taras Bulba with splendid battle scenes and magnificent brass.
Typical high pitched exciting timpani writing and intermittent tubular bells from composer Janácek added to the whole, as did lovely violin solos from Zoë Beyers.
Why a chamber organ? Why not Symphony Hall’s magnificent beast? In spite of this however, the whole of the finale was truly uplifting, creating a true wow factor.
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