The legacy of the Magna Carta remains as relevant today as it was when accepted by King John at Runneymede 800 years ago. His seal (he didn’t actually sign it) secured the basis for the liberties enjoyed by democratic societies around the world.
Just a couple of weeks after the official anniversary was marked politically, the Halle Orchestra presented this musically thought provoking ‘Freedom of Liberty' concert with Foden's Band.
Great pity
It was a great pity then that such a significant link between the professional and amateur organisations was so poorly supported - although the mid-week date, as well as the weather may have had a lot to do with that; a Wednesday evening concert on what had been a baking hot day.
Those who did make the effort relaxed in the luxury of an air conditioned auditorium to enjoy music chosen to acknowledge the historic empires of Britain and Rome and the connections to the Halle’s home city of Manchester.
Evocative work
Stephen Bell led the orchestra with Sir Malcolm Arnold's 'Peterloo Overture' - an evocative work that celebrates (if that is the right word) the sacrifice endured in the search of democratic principles. It was played with a stirring feeling of both provocation and pride.
Sir William Walton's ‘Henry V’ was more of the flag-waving patriotism variety; the opening Passacaglia - 'The Death of Falstaff' featuring the strings in sombre, noble mood.
The 'Charge and Battle' was taken at a controlled dramatic pace, with the aftermath of the triumphant English victory and the ultimate scene of tranquillity, depicted beautifully. Finally, 'Touch her Soft Lips and Part' once again showcased the Halle’s luminous strings.
Centrepiece
The centrepiece of the first half came with Andrew Duncan's 'A Tale of Two Empires: Cottonpolis'; written in 2000, and very much a celebration of Manchester’s proud industrial heritage.
Foden's joined the orchestra on stage to add splendid verve, colour and timbre to a work that had a clear sense of imaginative substance - integrated with great skill and understanding by players and conductor alike.
Eloquent
After the break, Walton’s march, 'A History of the English Speaking Peoples' written in 1959, was dispatched with playful vigour, before Foden’s returned to provide a sensitive rendition of Eric Ball's, 'Resurgam' featuring eloquent playing from both soloists and ensemble alike.
It was brass band playing of the highest class; warm and emotional, with MD Michael Fowles gaining superb attention to precision and balance in a lyrical interpretation.
A shame then that so few were there to enjoy it - or perhaps understand its context: The applause a little too forthcoming, however well deserved.
Sensuous
It left the Halle to enjoy themselves with 'The Pines of Rome' - played with a feverish colour, and with the band neatly intertwined for the stupendous ‘Appian Way’ climax, which included some terrifically sensuous flugel playing from Helen Williams.
It was a great end to a fine collaboration of such a significant celebration.
Malcolm Wood
