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Tom Randle highest registers with acoustic this approach and percussion remain as ordered. Franckian richness of came across with eng- This sense of discomfort also spread to the tone. The duo conveyed aging presence, as did musical direction at Adrian Boult Hall, Birm- Bloch’s turbulent and Randle’s charming, sincere ingham on August 8th. Owain Arwel Hughes yearning neo Romanticism conversational manner as has achieved great things with youth orchestras with panache, the final tonic he shared thoughts with us. in the past (his Britten War Requiem with the major resolution reached like a Nowhere was this more app- Bedford Youth Orchestra at Symphony Hall sailor pulling into harbour at the end arent than when he introduced the many years ago lives in the memory), but what of a stormy and eventful ocean voyage. premiere of From Dreams and Turning, his own was he doing here, sanctioning a rendition Bloch’s aspiration to universalism did not setting of five poems by A.E. Housman, comm- from all eight double-basses of the Frère Jacques conflict with his self-conscious role as a Jewish issioned by ‘Celebrating English Song’ with opening to the slow movement of Mahler’s First composer, as shown by the popularity of works support from the Housman Society. This Los Symphony, when the composer clearly marked such as the Baal Shem Suite, beautifully played Angeles-born young man admitted his temerity it as a solo? And, in the same work, when by Jack Liebeck, whose Guadagnini took on in bringing such coals to Housmanland, but he Mahler crowns its climax by asking the horns to human vocal qualities to convey the work’s needn’t have worried. These are passionate, stand to increase their impact (never mind he inward poetry. His finely calculated bowing virile compositions, the vocal line riding over also asks for them to add to their numbers), it heightened the impact of each gesture both in colourful piano tapestries which add extra seemed perverse to mask that impact by having the first piece, Vidui, and the oft played Nigun, elements to the sound-world, before, in four of them raise their music-stands as well. supplanting an often aggressive attack with the songs, ending with a questioning numbness Movements from Tchaikovsky’s Swan Lake cantorial sweetness in Bloch’s rhapsodic lines; from voice alone. Great waves of applause greet- were eloquently delivered (fabulous principal the final dance-like Simchas Torah radiated ed the conclusion, and Randle appeared gen- oboe), and the Prelude for Orchestra by Hughes’ optimism and brightness. As also in their uinely moved at his music’s reception. father, Arwel Hughes, was a skilful highly-charged Franck Sonata that concluded A different kind of literature display of that fine conductor’s aural the concert, Liebeck and Forsberg touched the informed the rest of the memory, Sibelius to the fore. tingle factor here more than once. Their recital: a potted West Side Christopher Morley encore, Joseph Achron’s Hebrew Melody, was Story, fervently delivered an eloquent vindication of Bloch’s seemingly (never mind the odd 8th Bach-Paganini paradoxical aesthetic and universalist ideal, mishap), Eden Ahmez’ Violin Festival Liebeck’s singing tone ringing in the mind’s ear Nature Boy, and Randy long after the evening was over. Newman’s heartbreak-
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