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Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite

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Sign in. First name and Last name. First name only. Email address It will remain private. Yemen Yugoslavia Zaire Zambia Zimbabwe. Get Jazz Near You A weekly events guide. Verification code. Email address. Reset Password Now. We sent a confirmation message to. Look for it, then click the link to activate your account. Much of the evening featured symphonic dances whose wildly complex rhythms must have been exhilaratingly tricky for the NYO's young players to perform, taking them out of their comfort zone and pumping up adrenaline levels.

Ginastera's Dances from Estancia were made to sound irresistibly exciting, hypnotic, pulsating - almost dangerous. The music also called Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite challenging solo performances. But the rest of the solos were Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite with style and panache by NYO members Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite were some speeches, of course; but Chairman Christopher Goodall and conductor James Lowe were both eloquent and concise, preferring to let the music-making speak for itself.

When they joined forces in Larry Clark's Engines of Resistance it wasn't just their sound which impressed - but the combined musical energy and concentration of youngsters created a breath-taking spectacle. The senior orchestra's programme took three pieces associated with the big screen. More than a match for the concerto's fierce technical demands, hers was a performance which married poetry to fire, tender lyricism to sweeping passion.

And the orchestra were such sensitive partners, responding perceptively to the soloist's often sudden changes of mood. The final work in this celebratory programme was an inspired choice: scenes from the Kenneth Branagh film of Henry V with Patrick Doyle's music and with a cast of actors including Sarah White Chorus and Louis Greatorex as Henry.

The combination of such stirringly patriotic words and music delivered with so much youthful energy and commitment was truly inspirational - and summed up what the last 30 years of NYO history has meant to this city. The first half of Sunday's NYO concert came as a complete revelation: unfamiliar but vividly colourful music from 20th century Portugal - followed by breathtaking playing from one of the most exciting young pianists ever to have played with the orchestra.

The name of Luis de Freitas Branco may not exactly trip off my tongue in future, but the NYO's performance will certainly make me want to explore his music further. His Suite Alentejana No 1inspired by a region to the south of Lisbon, shimmered with local atmosphere infused with shepherd songs and lullabies. Branco's musical palette is extensive and delicate, making it tricky to play. However, the NYO rose splendidly to the challenge - especially their principal horn and cor anglais player.

The concluding Fandango was loud, lively and wildly joyful. Then came one of the most astonishing performances in the NYO's year history. The year-old pianist Yaunfan Yang joined them as last-minute stand-in soloist in Grieg's Piano Concerto. Right from the opening dramatic flourish it was obvious that he was completely in control of the music, able not only to meet its fiendishly difficult virtuoso demands but also able to breathe new life into its familiar phrases.

The first movement cadenza had startling power - but it was its silences which really caught the breath and suggested that Yuanfan is a master musician in the making. As if this wasn't enough, he played Liszt's La Campanella as a rapturously received encore. After all this the second half could have been an anti-climax. But no fear of that. Conductor Jan Wierzba coaxed tight ensemble and some beautiful solo playing from the NYO in a stirring performance of Sibelius' Finlandiaas well as much characterful tone painting in Bartok's Hungarian Sketches and Grieg's Peer Gynt.

In fact, it almost ended in tears as five retiring NYO players said their farewells to the orchestra, attempting to sum up what being part of such a supportive and creative musical family had meant to them. The preceding music was a good demonstration Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite the passion and commitment which has characterised this orchestra for nearly thirty years.

Saturday's post-Amsterdam-tour programme was a mixture of three complete works and three extracts from symphonies, possibly chosen to whet the appetite for the whole thing in future concerts. The rainy gloom outside was soon dispelled by a vividly colourful performance of Balakirev's Overture on Three Russian Themesfull both of atmosphere and opportunities for all sections of the orchestra to shine.

Then came Schubert's Unfinished Symphonya piece which demands intense concentration if all its subtleties are to Hard + Slow - Graham Coxon - The Sky Is Too High revealed.

From the opening bars of its mysterious, brooding introduction it was clear that this was going to be a revelatory performance. Conductor Mike Palin conveyed a strong sense of the music's emotional ebb and flow, crafting a beautifully lyrical slow movement and ensuring that his players were always attentive to phrasing and dynamics.

In the concert's second half Christopher Hoggarth was a similarly perceptive conductor of Czech, French and Finnish music.

The Scherzo from Dvorak's 8th Symphony is really a sort of Slavonic waltz which charmed and danced its way around St Mary's.

The encore? A full-blooded, no-holds-barred performance of music from Pirates of the Caribbean. Chabrier's Joyeuse Marche could have been written for the NYO, although its members would have to be years old for this actually to be the case.

It's only very brief but it packs a powerful punch and it's music that seems to smile all over its face. The young players, under their energetic conductor Chris George, captured all its bounce and rhythmic quirkiness to perfection, launching their programme in robust and effervescent style.

Dvorak's symphonic poem The Water Goblin needs a very different approach, since it is a detailed musical narrative, steeped in the folklore of its composer's native Bohemia and telling the story of a malicious sprite who wreaks a horrible revenge on the human he has married when she escapes his clutches.

The NYO rose to the work's virtuoso demands, immersing the audience in its macabre world whilst making it a thrilling, exhilarating experience. After the interval came an even more challenging orchestral masterpiece: Elgar's Enigma Variations. It may be one of its composer's best-loved works but it is fiendishly difficult to play.

The spotlight falls on most of the instruments, so there is nowhere to hide, especially in the slower, more delicate sections. The NYO sailed a bit close to the wind in some of the character portraits the spiky opening of the second variation caused some problems for the strings but overall the effect was stirringly impressive.

The personalities of Elgar's friends 'pictured within' emerged vividly and the whole performance shone with rhythmic verve and detailed phrasing. Many of the orchestra's principals had to play Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite solos including the fearless timpanist and all rose magnificently to the challenge. The only slight disappointment was that the Albert Hall's mighty Binns organ remained silent during the final portrait of Elgar himself.

Nevertheless the concert ended Helvede For A Day - Helvede - Anywhere impressively as it began.

There was a lot of enthusiastic applause generated by Sunday's NYO concert - and it wasn't just from an appreciative audience aimed at the young musicians. Knock On My Door - Fanny - Fanny Hill heartfelt was the applause from the orchestra for those who had inspired them: soloist Ben Dawson and conductor Alpesh Chauhan.

The opening suite from Bizet's Carmen was a taste of things to come. Not only did the six short movements have plenty of the NYO's trademark energy, but the playing was full of the opera's bright colours and tragic intensity.

The orchestra was good at projecting the swagger of the Toreador's Song, and there were sharply etched contrasts too - such as Strap It On (Punx Soundcheck Remix) - Futon - Pain Killer slinky Seguedille and th poignant flute melody beautifully played by Megan Dawes which made the Intermezzo so memorable.

Falla's Nights in the Gardens of Spain is a relative rarity in the concert hall. Soloist Ben Dawson was an eloquent advocate for its lush, shimmering charms. Its three movements make it not so much of a concerto as a series of vivid musical impressions, the effect of each depending on the precision with which soloist and orchestra recreate the composer's highly individual sound world. The rapport between Ben Dawson and the NYO was apparent throughout the performance, and it was clear that rehearsals had created an unusually fruitful and coherent vision of the piece.

After the interval came Cesar Frank's D Minor Symphony, conductor Alpesh Chauhan always highly responsive to detail, encouraging his young players to create light and shade through a careful control of Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite. This is a symphony which begins sternly and ends joyously. The triumphant, exhilerating conclusion was a fitting way to end yet another demonstration of the NYO's musical talent. You would never have guessed that the young members of the Nottingham Youth Orchestra had arrived home from their tour to Jersey at 5.

Because Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite was certainly nothing bleary-eyed about their post tour concert in St Mary's. Far from it. On Saturday Parkinsons Law - Nottingham Jazz Orchestra - Festival Suitetheir playing was as energetic as their programme was ambitious. No one could have complained about lack of variety - with over four centuries of music covered. Nor could the audience have said that the pieces lacked drama, as extracts from two ballets and an an opera were on offer as well as strongly pictorial Immortal - Sons Of Northern Darkness by Saint-Saens and Borodin.

Despite this, perhaps the highlight of the concert was the delightful performance of Vivaldi's A minor Concerto for Two Violins.

Joy Hodkinson and Becky Adams were the fleet-footed, sweet-toned, highly responsive soloists. The slow movement in particular was beautifully played and seemed perfectly matched to the church's ample acoustics.

The 3rd movement of Mahler's 1st Symphony was full of quirky idiosyncrasies - and featured a famously unusual double bass solo played with plenty of character by Matt Sutton.

The stage music was performed with vivid tonal colour. In the first half conductor Christopher Hoggarth directed a series of evocative dances from Massenet's El Cid, whilst in the second Mike Palin drew plenty of excitement from Khachaturian's Gayane suite, concluding with its fast and furious Sabre Dance.

As if this was not already enough virtuosity and brilliance for one evening, the orchestra's brass ensemble dazzled with pieces by Howarth, Praetorius, Gastoldi and Jeremiah Clarke.

If you were in Saturday night's audience at the NYO's Heroes and Villains concert, you would have saved a fortune in travelling expenses. If your ambition had been Tryin To Get The Feeling Again - Hubert Laws - Romeo & Juliet hear Princess Leia and Luke Skywalker play the cello, then there was no need to travel to a galaxy far, far away.

The fact that the orchestra had taken the trouble to dress up and that the music was always accompanied by so many entertaining projected images of invading Martians, Bond villains etc were signs that this was a high octane concert in which no one was holding back on energy and commitment.

The young members of the NYO and their Jazz Orchestra colleagues were on top, stylish form throughout, their conductors James Lowe and Phil Smith inspiring them to produce highly professional performances. Their range was impressive too: everything from film scores to chunks of symphonies by way of ballet, opera and musicals.

All were given the NYO's fresh and dynamic treatment. The musicians were joined by two guest singers, both of exceptional promise: Marcus Farnsworth in numbers by Tchaikovsky and Mozart, and Lucy Kay Allen in the roles of Tosca and the Queen of the Night.

Adding his own sense of style and mixing all the ingredients together was presenter Des Les Hérétiques - Force DImpact - Division Charlemagne, as loose a cannon as ever graced the deck of a pirate ship - but always guaranteed to entertain as well as wowing the crowd with his singing. Friday was a big day in the calendar of classical musicians across the country: the centenary of the birth of composer Benjamin Britten.

Every day last week in Nottingham there was a Britten event: operas at the Theatre Royal and concerts at the Royal Concert Hall and elsewhere, but it was particularly heart-warming to see so many young people celebrating what would have been his th birthday. The NYO joined forces with Music for Everyone and local school choirs to present a varied selection of Britten's music which centred on a collection of 12 songs called Friday Afternoons, written for the school where his brother Robert was Headmaster and so called because that is when the children had their singing lessons.

Most of the songs are very short but the collection is wonderfully varied and it was clear that the 7 choirs assembled for this performance not only knew the words and music very well some by heart but also obviously relished the chance to sing it. This was music of widely different styles displaying the young players' versatility as well as their sensitivity to tonal colour.

Under the direction of conductors Mike Palin Spend Some Time With Me - Don Williams - I Believe In You Alex Patterson the NYO rose to the occasion and ensured that this was a worthy tribute to one of Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite greatest composers.

On Friday the 22nd of November young people from all around the UK celebrated the th Birthday of Benjamin Britten by performing songs from the collection 'Friday afternoons'. NYO collaborated with Music for Everyone and a number of schools at Nottingham's historic Albert Hall to create an evening not to be forgotten! The children in the choirs where buzzing with excitement and the conductors Alex Patterson and Mike Palin bought enthusiasm to each piece of music.

To start off the night the orchestra performed Fanfare for St. Edmundsbury which Britten wrote in This piece was made up of 3 trumpets each individually playing it's Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite then all coming together to make a strong, extravagant sound. It was an uplifting start to the evening! Although not part of the Friday afternoons collection the theme from 'The Young Persons Guide to the Orchestra' was a brilliant addition to the night.

Firstly the whole orchestra played the theme together then all the different groups of instruments followed. I liked this piece of music because it lets all the main instrument groups shine individually before bringing them all together making a loud and Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite sound.

Cuckoo was sung by the choirs, and it started off quietly then ended in a round. It sounded beautiful and you could tell the children loved singing it. Abram Brown was completely different to Cuckoo, Low pitched and serious. This moving song was a perfect end to the night.

Overall a great night with inspiring songs and classical orchestral pieces that were loved by all generations. Click here to listen to very cute rendition of "Cuckoo" An era in Nottingham's musical life ended on Friday night with an NYO concert which not only marked their return from a Viennese tour but also celebrated the retirement of their co-founder and Musical Director, Derek Williams.

For 28 years Derek has been at the helm, leading generations of talented youngsters Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite the full range of the classical repertoire with nothing being dismissed as too difficult or challenging. Whether they have been tackling a Beethoven symphony, John Williams' film music or John Dankworth concerto, the result has always been full of musical insight coupled with youthful energy and enthusiasm.

On Friday the players showed their appreciation not only with their presentation of gifts but also through their typically committed music-making. As a highly appropriate encore Derek Williams was prevailed upon to conduct with his presentation baton the Radetsky March. Both as a collection of talented individuals and as a highly responsive ensemble, the NYO demonstrated that they are in fine fettle as they start a new chapter in their impressive history.

It is an enormous tribute to the talents and commitment of the Nottingham Youth Orchestra's young musicians that Julian Lloyd Webberone of the world's great cellists, chose to play Elgar's Cello Concerto with them on Saturday night.

As conductor Derek Williams Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite during the interval: what an artist chooses to do in performance may be very different from what is rehearsed, so the orchestra had to respond to body language and listen to every nuance. Perhaps this explained the compelling intensity of their playing. The combination of the concerto's tragic nobility, the youthful energy of the orchestra and the long experience of a master soloist were irresistible - from the tense first movement through the skittering scherzo, the soul-searching Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite and the stoical determination Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite the finale.

Joining orchestra and audience in Rule Britannia, Jerusalem and Land Of Hope And Glory was young mezzo Katie Stevenson - whose voice has such expressive richness that it can't be Perpetuum Mobile - Amber Arcades - Fading Lines before her name is on every music-lover's lips.

Although November is a little early to be having what the NYO advertised as a 'Winter Concert', their choice of colourful repertoire did much to banish thoughts of gloomy November with its floods and gales. Bizet's L'Arlesienne suite is sunny, melodious and exquisitely orchestrated - qualities exploited to the full by the NYO, conducted by Derek Williams. There was some impressive playing from the principal flute in the Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite and the Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite section made its mark when set against the exultant strings of the Carillon.

Shin Suzuma was the solo pianist in Dohnanyi's witty Variations on a Nursery Song, which pokes fun at a range of composers through the most innocent of themes: 'Twinkle twinkle, little star'. The work's mischievously ominous opening was played with imposing, straight-faced weight by the NYO with soloist later exploiting his virtuosity to the full, bringing plenty of charismatic sparkle to the role. Other works included Tchaikovsky's vividly dramatic Marche Slave, the NYO capturing its mood swings from darkly mysterious to brightly martial, as well as pieces from Berlioz's Damnation of Faust, the Judex from Gounod's Mors et Vita and Arnell's Variations on The Grenadiers played by Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite ripely ebullient brass section.

Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite Ruff - Nottingham Post. The NYO's musical talent shone brightly on Friday night in their post-tour concert. Which is more than can be said for their venue. At just about the same that the Olympic arena was flooded by the greatest light show on earth the lights in St Barnabas' Cathedral failed.

Right in the middle of the opening Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite of Tchaikovsky's Death, Judgement, Fate - Ritual Carnage - Every Nerve Alive Symphony.

But the young players of the NYO rose heroically to the challenge and carried on regardless to the end of the movement - even entertaining the audience with the Great Escape march until normal service could be resumed.

That apart, conductor Derek Williams ensured that their playing of the Tchaikovsky was stirring stuff, really Russian passion co-existing with the technical demands that the composer makes of all sections of the orchestra.

As befits a concert given in the aftermath of a foreign tour, the programme was as cosmopolitan as one could wish for. Their performance of Humperdinck's overture to Hansel and Gretel was a sprightly and vivid tone painting of the opera's narrative of childhood hopes and fears.

And the inclusion of Malcolm Arnold's set of Cornish Dances allowed them to create moods of boisterous good humour alongside the images of a Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite and desolate landscape scarred by abandoned mine-workings.

The evening's central work, and luckily one that escaped without mishap, was an arrangement for harp and orchestra of Rodrigo's famous Concierto de Aranjuezplayed with warm insight and dazzling virtuosity by Roisin Hickey and accompanied with sensitivity and poise by the NYO. Tonsillitis had struck the scheduled tenor, so stand-in Paul Hopwood had to come to the rescue, hot-footing it up the M1.

Perhaps it was the added adrenaline generated by a potential crisis Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite gave the concert its edge but much of the music-making had a vibrancy even beyond what is normal for the youthful talent that is packed into the NYO. The programme's first item, selections from Bizet's Carmen, contained the essence of the whole evening.

The Prelude fizzed with energy, suggesting all the Spanish colour of the opera as well as its exuberance and tragic outcome. The wide tonal palette demanded key solos from the orchestra's principals, all having to paint in vivid and intricate colours. James Lowe's painstaking preparation was evident everywhere in the attention to phasing and ensemble. He was clearly pleased with the orchestra's response, bringing soloists and sections to their feet to acknowledge the enthusiastic applause.

Paul Hopwood and Charlotte Ellett were impressive soloists, both individually and when joined in duet. Their performance of the Act 1 Finale from Puccini's La Boheme was not only beautifully sung but touchingly acted as well. Elsewhere they were in fine voice in numbers from The Merry Widow, Tosca and Die Fledermaus, always with the orchestra providing sensitive, well-balanced support.

Trying to write about the NYO's "Journey Through Olympic Cities" concert in just one review is like trying to cram London into a school playground. There was so much going on that the air seemed to crackle with high voltage energy bursting from a vast array of musicians and athletes Prison Kcv 08-2-P - Various - King Calavera - St Pauli O Muerte - Songs From The Home Of PunkNRoll on the Concert Hall's stage.

The orchestra's journey started with the exhilarating Skyline composed by 16 year old NYO member Coleman Chan before taking off to Greece and eventually landing in London, stopping off at more Olympic venues than most of the audience could remember.

Opera got a look-in too. From the world of musicals came Cabaret Berlin sung by Jayne Russell. Holding all this together was a Greek Chorus of young children, chorally reciting introductions and being delightful guides to the programme.

And there was the multi-talented compere Des Coleman, ten times larger than life, singer, dancer and interviewer of local athletes John Whetton, Simon Wilson and Becky Downie.

Most orchestras see an occasional turnover in members, but for a youth orchestra the process is unavoidable. The evening opened with Brahms's humorous response to the award of a honorary doctorate: an overture pitching student songs into a symphonic edifice of impeccable build. Dvorak's Third Symphony, too, projects lyrical impulses through classical craft.

Both scores were scrupulously realised under the direction of young Spanish maestro Jon Malaxetxebarria, making his second appearance with the NYO. The next piece saw him on home ground - up to a point. Mary's Church 30th July Prior to St Mary's, the NYO gave three concerts two with expatriate violinist Daniel Bell playing Glazunov at different locations in Berlin - and even the sternest of German judges must have been impressed. Inspired Sky - Edward Cliff - Nights Of September the Tales of the Arabian Nights, Rimsky painted an animated fresco of melody, rhythm and instrumental shadings.

Images of Sindbad's ship, a prince among dervishes and a festival in Baghdad are evoked by various groups of players. Leader Amanda Bruce linked the scenes with her captivating violin. The graceful interlude for a young royal couple produced real enchantment. In the final build-up to a reprise of the sultan's theme, the way that the ensemble sustained the momentum was thrilling to hear.

In the opening performance of Smetana's Vltava, Bohemian dances were deftly inserted into the changing flow of the river depicted. Under conductor Derek Williams's scrupulous guidance, movements from Grieg's Peer Gynt music were executed with poetry, pathos and gusto. And Rachel Tooley and Christopher Hart played beautifully matched trumpets in a baroque concerto by Francesco Manfredini. Noble music-making all round. Peter Palmer - Nottingham Evening Post Albert Hall 5th December - A Winter Concert The Nottingham Youth Orchestra under conductor Derek Williams came up with the perfect antidote to the wintry weather: a programme of highly attractive music, and playing which radiated warmth and energy.

Wagner's Mastersingers Overture set the tone for the evening with its feel-good factor and its exuberant broad sweeps of melody. This is Wagner with a smile on his face, and the young musicians brought out Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite extrovert good humour of the piece. Malcolm Arnold's English Dances requires some quick-fire mood-swings, from the delicate and pastoral to full-blooded energy; the Orchestra responded impressively, evidently enjoying the challenge.

Glazunov's Violin Concerto was a gem of a piece, full of lightness and warmth. Young soloist Sophie Rosa played with great poise and gave a beautifully eloquent account of her demanding part. The Orchestra provided a tapestry of colour. Josef Suk's A Fairy Tale will have been Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite welcome discovery for many in the audience.

The Youth Orchestra clearly loved it, and the world of princes, princesses, Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite spells and true love finally triumphant came Parkinsons Law - Nottingham Jazz Orchestra - Festival Suite to life.

Suk's music is captivatingly rich and immediate, and the playing had a fluent confidence which made it hard to believe how young these musicians are. Grahame Whitehead - Nottingham Evening Post All of the orchestra's players went into full flow, weaving in and out of each other with utter radiance as Wagner's "great and joyful work" was played at its best. As NYO approached the middle of the piece the orchestra reached a majestic section, quieter, to add shape to the coming rousing end finishing at the same volume and clarity as it started!

This dramatic yet stirring opening was carefully chosen to suit his orchestra according to Derek Williams, the NYO conductor, and it was a perfect introduction to the evening.

Next, changing the atmosphere entirely was English Dances by Malcolm Arnold. The first movement, Andantino, suggested a small Sharks Are Back (Interlude) - Please Lose Battle - Bedroom EP flowing by, perhaps a soft breeze, and so as you can probably guess, this first movement started off softly.

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Archived from the original on 14 July Retrieved 6 August Archived from the original on 28 September Retrieved 5 June Retrieved 13 June Guinness World Records Limited. Tabor lures Park to Global Radio. The Earthwalker (Instrumental) - Monkey Sons - The Chronicles Of Banania: Legend Of The Monkey Sons (Fil band".

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