Review: Cambridge Philharmonic Society

JOE CONWAY: ‘My guess is that Ruth Palmer would never play this concerto – or possibly anything else – the same way twice. But then why should she?’

Adams Bernstein Copland Darrell Davison Elgar Timothy Redmond Tom Curran

9th May 7.30pm at West Road Concert Hall. £20/£15/£10

Sometimes concerts can be difficult to review not because of their shortcomings, but because they're so full of good things that it's hard to know where to start. Sunday's concert by the Cambridge Phil under Timothy Redmond presented this kind of challenge, with three fascinating works, fascinatingly performed.I'll begin at the end. For the second time in two weeks at West Road this was a concert which culminated in a performance of Elgar's First Symphony. This in itself says everything about the quality and popularity of this wonderful work. But it also means that a few invidious comparisons are about to be rolled out.

As far as I recall Darrell Davison's performance with the Cambridge Orchestra stressed the monumental and architectural aspects of the work, its nobility and grandeur. Timothy Redmond's interpretation was very different. Essentially a young man's performance, it realised the excitement and drama inherent in the music. And it's worth remembering that Elgar's own recording of the symphony is similarly dramatic and cut-and-thrust.

With this kind of interpretation there's also the huge gain that when the pressure is relaxed – as at the start and end of the third movement – the slower speeds make even more impact. But, and it's a big but, this kind of performance also slightly misses the point. For just as Elgar's 1st is undoubtedly tempestuous, bombastic, and ultimately triumphalist, it's also shot through with grief, melancholy, and something even more extraordinary. A feeling at times that the composer has lost the plot . . . Without this ambivalence no performance can be truly satisfying or successful.

But wait a minute, if I'm leading with the Elgar how can I do justice to Ruth Palmer's mind-blowing performance of the Brahms Violin Concerto which took place in the first half? Yes, I did write mind-blowing and Brahms in the same sentence! Mention this glorious concerto and I guess most concert-goers think mellow, serene, lyrical, plus oodles of golden violin tone.

But anyone looking for these qualities in Ruth's performance wouldn't have found them. Which is why her playing was a bit of a revelation – like hearing the piece for the first time. Hot-toned and fiery, yet also tentative and fragile. Generally slower than the conductor and orchestra had bargained for, yet a couple of times racing on ahead of them. Volatile, explosive, and essentially unpredictable. My guess is that Ruth Palmer would never play this concerto – or possibly anything else – the same way twice. But then why should she?

It's important to stress that we're not talking about mere willfulness here but really strong convictions. It takes that to move in front of a conductor to show him the speed that you want the music to go at. But body language and physical freedom are part of Ruth's armoury. Witness her weaving movements during her deliciously dancey playing of the triplet passage that comes immediately after the main theme of the finale.

Not far from where I was sitting there was a small boy and mum. I assumed he was a beginner violinist from the intense concentration he was demonstrating. He simply couldn't take his eyes off Ruth. He wasn't the only one . . .

Last but in no way least, this event-packed concert began with a world premiere. Called Majestic Momentum it was written by a local composer with a national reputation. Almost unbelievably Tom Curran is still an A level student at Hills Road. Yet he already has more on his CV than many accomplished musicians several times his age. He has won prestigious competitions as a composer and pianist, and has also been active as a percussionist. But he's best known as keyboard player in his own band The Arrangement – of Britain's Got Talent fame.

The Cambridge Phil. commissioned this exhilarating piece for wind and percussion and its premiere demonstrated just how much contemporary classical music has moved on since the arid days of avant-garde experimentation. For this work was unashamedly tuneful and traditional. Expertly written for a large line-up, it included particularly gracious solos for French horn, cor anglais and, evocatively, tubular bells. Other possible influences were American composers Adams, Bernstein, and Copland. But beyond these Tom Curran is clearly in the process of finding his own voice. Great to think it's likely to be a wholly accessible one.