Review: Sinfonia Viva, Assembly Rooms, Derby, 12.11.11

Conductor

Matthew Coorey first appeared at the Assembly Rooms six years ago as

the Hallé Orchestra's Assistant Conductor. This time he was

at the helm of Sinfonia Viva in a programme tailor-made for his

remarkable versatility.

First

off was the 'narrative for string orchestra' derived from Bernard

Herrmann's score for the Hitchcock classic Psycho. Whether

or not you buy into the notion that film music that stands up away

from the screen isn't really doing the job it was designed for, it

is an outstanding piece of writing for string orchestra. Viva's

playing was incisive, while leaving room for the rare moments of

lyricism, though the Prelude needed a touch more weight of tone to

give those jabbing chords real bite.

Yevgeny

Sudbin joined the orchestra for a deeply satisfying performance of

Beethoven's Piano Concerto No 5 - taut, crisp and fiery in the

first movement, and full of tranquillity and warmth in the second.

There was a marvellous sense of hushed anticipation in the link to

the finale. The finale itself was handled with a light touch,

bringing out the playfulness and humour, with Sudbin's hands

seeming at times to barely even stroke the keys.

Copland's

ballet Appalachian Spring is usually heard in the composer's

concert version for full orchestra, but the original

thirteen-instrument scoring is increasingly being played as well.

Viva made an effective compromise – the music of the concert suite

in the original instrumentation, but with additional string players.

Their performance was marked by limpid sonorities and strong dance

rhythms.

The

orchestra's sprightly, spirited playing resulted in an engaging

account of Mozart's Symphony no 35, 'Haffner'; their

quick-witted, whiplash reflexes in the finale were a particular

delight.