A Great Musical Celebration of the South Downs
By Neil Franks
Wednesday evening’s (22nd July) Petworth Festival concert could not be allowed to only be known to just the 300 people who were fortunate enough to be there.
I don’t think there can be many musical experiences as fine and English than we were lucky enough to witness at St Mary’s Church in Petworth, but in this case, not just English, but more specifically a magical celebration of The South Downs.
When in recent history has it ever been more important to focus at least some attention in the midst of our fast-paced lifestyles dominated by the super-efficiency of news and information, to stop for a moment, listen to and witness something that just cannot be condensed into a bite-sized snippet.
The audience was so transfixed that I don’t think anyone even noticed that this was one of the longest concerts they would ever expect to attend, nor would it be of concern given the magical spell the entire event cast upon us.
This was a showcase of some of the finest and most captivating (Southern!) English musical inspiration. Much of it might have been composed in or very close to the South Downs, and performed here, but the good thing is, this is a concert that will be equally appreciated anywhere in the World.
Being the regional festival, we were of course privileged and proud to be able to feature a new composition by our regional and youthful composer, Ned Bigham, in celebration of his 60th birthday, with the concert starting with a piece from the North Downs (ie a stone’s throw from here) with Vaughan Williams’ Fantasia on Greensleeves. The next piece in the build up to the “big reveal” was Ravel’s Introduction and Allegro. What on earth is so English about that, one may ask? The subtle link (we were informed) was Ravel’s close friendship with Vaughan Williams and, despite the sophistication of the French culinary excellence, his great admiration of the Steak and Kidney Pudding served at Waterloo Station, that in turn serves the South Downs!!! (Surely that explanation is perfectly acceptable!).
Before going any further, it has to be time to highlight, not just the great music, but the great musicians of the London Conchord Ensemble who performed, and hey presto, another South Downs connection that we are so fortunate to be associated with. The region’s greatest supporters of music, Mary and David Bowerman who founded the wonderful institution that is Champs Hill (just down the road from Petworth), were the force behind the establishment of this brilliant Ensemble. What a virtuous circle is unfolding before our ears, eyes and musical inspiration. This was not just another lovely concert that might otherwise take place in a familiar concert hall all set up for the standards our music-loving public so enjoy. This was a concert of equally high standing, transported to the lovely St Mary’s Church in our glorious town of Petworth, filled with our local supporters and their friends. And then how on earth can this all come together in a church in a small town, but delivered to the musical standards and acoustic perfection of the finest concert halls? It is the dedication of a team of enthusiasts who work throughout the year towards the opening bar of each concert that is curated by our Artistic Director, one, two or more years before the prompt 7.30pm start on (in this case!), a Wednesday evening in Petworth!!! Thankyou Stewart Collins for making this happen year in, year out for the past 15 years.
Thankyou just as much to those people who donate to us because they believe in us and in our endeavours. What would we do without you? Please never leave, please keep giving and ask all your friends to join our community of givers.
The story goes on…. And now to the highlight of the evening, the world premier of Ned Bigham’s The South Downs Suite, written for the most unusual but such effective instrumental “nonet” figuration (flute/piccolo, oboe/cor anglais, clarinet,bass clarinet, harp, piano and string quartet (!)), inspired by Charlotte Turner Smith’s poem “To the South Downs” written in 1782. The musical journey starts on Barlavington Down, to its summit being climbed figuratively by the long sonorous note of the viola (if you had previously underestimated the power of this instrument and the musical direction it is capable of travelling, you will now be satisfied!!!). We proceed to Eartham Wood where we experience the vibrant bird life. Then onto Amberley Brooks where our great Steinway Model D (excuse the commercial interlude but it does convey the power of the waterway with such clarity), and finally to the farmsteads of Coldharbour, above the thatched rooves and character of the villages of Sutton and Bignor, the latter being our composer’s homestead!
We can now only hope that we will hear this glorious music everywhere we travel, and the further away we might be, the more we will be drawn back to home base!
In short, congratulations Ned for this great work of art that is worthy of global recognition.
Following our glasses of South Downs finest sparkle, the next musical treat that surely qualifies for South Downs honour (we can just about see Hampshire from here!), was Gerald Finzi’s quintessentially English Interlude for Oboe and String Quartet. Yet another innovative instrumental combination. And then to the grand and most meaningful finale (I told you it was a long concert!!!) – Elgar’s great Piano Quintet, written at Brinkwells, his Fittleworth home that was clearly so inspirational (must be the South Down’s air and scenery that has generated such artistry over the centuries!). This is late Elgar at his finest and most inspired. We might have been listening to a nonet configuration of (9) instruments earlier this evening, but this Quintet is an ambitious orchestral tour de force.
We usually think of Elgar’s great and grand works – his symphonies, the cello concerto, the patriotic songs and musical statements. Dare I say this is the more sophisticated side of the composer. Rumour has it, this piece was imagined by some incongruous twisted trees deep in the woods of Fittleworth within which the composer seemed to imagine represented a group of cloaked Spanish monks dancing mysteriously. Anyway, if that’s the story that inspired his imagination, it was very effective, however the reassuring Elgar signature appears just when it’s needed!
As many may know, I tend to sympathise with the pianist in these pieces as they seem to be given an awful lot of notes to play, but I do think Julian Mitford deserves generous acknowledgement for the successful delivery of the very complex piano part. However I must not let that detract from the tremendous energy and momentum of the supreme ensemble playing thought this enormous piece of music.
Thank you to everyone who made this possible and let us collaboratively perpetuate this great artistic tradition for our future generations.