The Oberon Symphony Orchestra play Shostakovich, Copland & Prokofiev

oberon-draperOberon Symphony Orchestra and Samuel Draper

Richard Whitehouse on the Oberon Symphony Orchestra‘s latest concert of 20th century music from the superpowers, given at their home of St James’s, Sussex Gardens, London on Saturday 11 June

Shostakovich Festive Overture (1954)

Copland Clarinet Concerto (1948)

Prokofiev Symphony no.7 (1952)

Cosima Yu (clarinet), Oberon Symphony Orchestra / Samuel Draper

This evening’s concert from the Oberon Symphony Orchestra comprised three pieces which complemented each other ideally, especially when their immediacy and accessibility as music tends to offset their frequent technical difficulties – albeit for musicians rather than listeners.

Not least Shostakovich’s Festive Overture, written in three days to commemorate the 37th anniversary of the Bolshevik revolution, whose tunefulness does not make for ease of ensemble; not that this was an issue when the players were as alert rhythmically in the first theme as surely as they conveyed the suavity of its successor, and the grandeur of its framing fanfares emerging without undue heaviness. That Shostakovich struggled to refocus his music in the post-Stalin era hardly lessens the appeal of this piece when so capably rendered.

The sharp stylistic contrasts in Copland’s output may have been determined more by aesthetic than political considerations, yet here again those pieces written for a wider audience are by no means straightforward to perform. One might have expected a testing solo part in the Clarinet Concerto composed for Benny Goodman, but the high and exposed writing in the first movement hardly makes life easy, and it was a credit to the Oberon musicians that they met the challenge while capturing the Mahlerian plangency of this music. The second movement, with its continual syncopation and recourse to jazz idioms, presents difficulties that were less fully surmounted; which in no way deterred Cosima Yu – her elegant phrasing and rhythmic verve much in evidence through to that final and decidedly Gershwinesque upward glissando.

While it has never been neglected, Prokofiev’s Seventh Symphony is still too often interpreted at face value. A letter to the ailing composer from Shostakovich soon after the premiere betrays a recognition of deeper and more ambivalent emotion behind the outward naivety (something the latter clearly had in mind when writing his final symphony two decades on), and it was this ambivalence that Samuel Draper brought out most convincingly – not least in an initial Moderato of a formal simplicity concealed by the harmonic subtlety with which Prokofiev navigates its searching and often uneasy course. This was no less true of the ensuing Moderato, a waltz-sequence of ingratiating melodies undercut by a rhythmic assertiveness made manifest during a coda whose forced jollity came ominously to the fore.

The highlight was the Andante – easy to glide over when its themes are so simply and unobtrusively drawn, but here given with  a plaintiveness and regret as disarming as is the piquancy of its scoring (not least the melting harp passage toward its close). While the final Allegro was less convincing, this further instance of ‘easy’ expression allied to its fair share of technical difficulties is far from plain-sailing, and if ensemble was not always precise in the cavorting main sections (or the admittedly uninspiring central episode), the return of the first movement’s ‘big tune’ was finely judged and the coda suffused with acute poignancy.

Draper rightly opted for the quiet ending that Prokofiev had initially intended: no matter if   its final pizzicato was not together – the music’s essential fatalism could hardly be ignored.

The next Oberon concert takes place on 17th September 2015, where the orchestra will play the Saint-Saëns ‘Organ’ symphony and Liszt’s symphonic poem Les Préludes. Here they are in the Tchaikovsky’s Fifth:

Further information can be found at the orchestra’s website

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