Warwickshire Symphony Orchestra review - Tchaikovsky inspires one of the orchestra's finest performances

Warwick Hall was packed for this most attractive looking ‘all Tchaikovsky’ programme. Deservedly, the full house gave Roger Coull and his vast numbers of players the warmest of receptions at the close of the most extraordinarily moving performance of Tchaikovsky’s “The Pathétique”, a work which received a very hostile reception at its launch. It was his brother who added the title “The Pathetique” after the composer’s death, undeniably appropriate as the work is overwhelmingly melancholic.

The evening began with a feisty brass fanfare to an intriguing interpretation of Capriccio Italien, Op. 45. Support by the orchestra’s wind section never fails, and once again the oboe and cor anglais playing was notably insightful. Roger Coull’s vast resources, including five horns, is a tribute to the most professional way the management team has developed in recent years with an evolving initiative - WSO Friends – helping to achieve a full house.

Guest pianist James Willshire’s philosophy in trying to be the best musician you can be and to to inspire others sits very comfortably with the orchestra’s beliefs. His interpretation of Tchaikovsky’s Piano Concerto No. 1 in B flat minor, Op. 23 will be fondly remembered by that full house as a highlight of the year. After a solid horn entry, Willshire’s unforgettable attention-grabbing opening chords set a tone for this exquisite performance of a work considered “unplayable” by Nikolai Rubenstein, the intended dedicatee. With well-controlled strings pizzicato playing supporting such an excellent keyboard technique, with super flute, clarinet and oboe playing contributed to a most successful guest visit. He will be very welcome to return with the orchestra!

A buzz of real excitement at the interval in anticipation of Tchaikovsky’s Symphony No 6 was repaid with what must be one of orchestra’s most outstanding performances. Few could ever forget the emotional weight of the adagio as the anguished last movement fades away. Brass and bassoon combined to start, piercing piccolo, dreamy strings, challenging trombone and tuba playing plus the clarinet interpretations by Liz Murphy and Helen Stares engineered a remarkable vast team effort. Roger Coull and leader, George Ewart should be thrilled, too.

The concert took place on October 17. Visit wso.org.uk for details of future concerts by the orchestra.