It is not often that a solo trombone plays the ‘concerto’ slot in a symphony orchestra concert. This is exactly what happened in the latest concert given by the Royal Tunbridge Wells Symphony Orchestra under its Music Director and conductor, Roderick Dunk, with the renowned, and very versatile, trombonist Carol Jarvis. The piece she played was Arrows of Time for Trombone and Orchestra by the American composer Richard Peaslee. It’s in three movements, the unusual title of which the composer said had come to him whilst reading Stephen Hawking’s book A Brief History of Time where the words appear.
There were probably few people in the audience who had come across this composition before. It contains references to many different musical genres ranging through jazz idioms, gushing, expansive film music reminiscent of Richard Rodney Bennett, and a hint at the very beginning of Henry Mancini’s theme to The Pink Panther! It is also VERY LOUD on occasions! However, whilst not being discordant or atonal – and there was structure and unity – it did surprise my ears! Not unpleasantly so and having heard it for the first time in rehearsal and then again in the concert, I was more attuned and prepared; for me it needed a second hearing. What was incredible was the fact that the soloist Carol Jarvis had, as the Programme Notes mentioned, overcome immense health issues a few years ago which could have ended her career. Tumours between her lungs meant she required numerous medical interventions, radiotherapy and a bone marrow transplant. That she could play such a technically demanding and physical piece is testament to her dogged determination and superb technique on the instrument. Technique, after what appeared to be a very exacting work-out in the Peaslee composition, was also very much required in the delightful encore that followed. In complete contrast, Carol and the orchestra performed Oblivion by Astor Piazzolla. It’s haunting, mood music – the sort you might listen to at 2 o’clock in the morning with a favourite tipple nearby. It contains long, drawn-out phrases requiring excellent breath control and diaphragm support, which after Carol’s health experiences was incredible. The Assembly Hall audience was mesmerised and Carol eventually left the stage to great, well-deserved acclamation.
Just as there was no concerto as such in the concert, proceedings got underway not with an overture, but with another little-performed piece – Variations on a Hungarian Folksong The Peacock by Zoltán Kodály. After a quiet introduction and statement of the theme, the following 16 variations are contrasting in tone, rhythm and colour; in fact, kaleidoscopic – and redolent of a peacock’s plumage. It’s very descriptive writing and, like the Peaslee item, quite loud at times. But Kodály also includes quieter interludes focussing on some of the different members of the orchestra such as piccolo, cor anglais and harp. Some of the woodwind writing is quite exposed and there are also moments of syncopation. Tricky stuff with which to open a concert.
After the interval came music, and perhaps for some, less challenging on the ears – Symphony No. 3 by Johannes Brahms. Most concert goers, including the Assembly Hall audience, will be aware of the four symphonies by Brahms. Perhaps less flamboyant than his others, No. 3 is lyrical with particular emphasis on the smooth lines of writing for the strings, especially in the second and third movements. I was impressed by the legato playing and phrasing. But, of course, this is what we expect from the RTWSO, an orchestra which Roderick Dunk has melded into an extremely cohesive and well-disciplined unit.
Some might have considered that this concert had unusual programming choices consisting as it did of two quite different halves. But it worked, and surely provided something for everyone. However, the standout memory was the brilliant trombone playing by Carol Jarvis.
