Critical proclamations and one reform

Following Sunday’s Niagara Symphony Masterworks concert, be it hereby proclaimed that:

As aptly demonstrated in Hummel’s trumpet concerto, repertoire of the Classical period best suits the size of the orchestra and the acoustical challenges of Sean O’ Sullivan Theatre;

Andrew McCandless is a musician of the top rank. Fluid, clear tone; discreet use of vibrato and an extraordinary attention to the details of phrasing and articulation made his contributions the hands-down highlight of the afternoon;

NS horns and brass (as their string colleagues did during violist Rivka Golani’s bowing masterclass two years back—cross-reference below) would be well advised to learn from McCandless just how to set, breathe and deliver their attacks without bumping the musical fabric or stalling their entries;

The emotional intensity and level of commitment demonstrated by Swift, McCandless and the orchestra in Bloch’s magnificent “Proclamation” should become the benchmark by which all future forays into “modern” music should be measured;

Chatman’s Barber-laden “Over Thorns to Stars” should slip quietly away from concert programs or undergo yet another (edited) reincarnation;

Cheque presentations or raffle draws have no place on the concert stage—particularly following one of the most sublime symphonic creations ever penned; the post concert reception was invented for such important, but comparatively mundane events;

Reform

Several times in recent concerts, the audience has either en masse or ever so tentatively interrupted the artistic flow of multi-movement performances by bursting or drifting into applause. For many, this is an unwanted interruption, destroying the mood of one section while anxiously savouring what is next to come. It is a fact that many in the crowd are hearing these masterpieces for the first time, so may not be aware that the final cadence of the Allegro is but a step on the road to greater glory.

With respect and love, we humbly request that Maestro Swift adjust his body language to cue a temporary halt, rather than the typical “arms drop dead” that, for some, begs the pressing of palms to begin. We’re all in this together, do help us along the path to an even greater artistic experience.

Felix Mendelssohn	War March of the Priests from Athalie, Op. 74
Johann Nepomuk Hummel	Concerto for Trumpet in E-flat Major
Ernest Bloch	Proclamation for Trumpet and Orchestra
Stephen Chatman	Over Thorns to Stars
Felix Mendelssohn	Symphony No. 5 in D Major, Op. 107, "Reformation"

Cross-reference: Rivka Golani inspires!

Niagara Symphony