Bermuda Philharmonic Society -- at the Anglican Cathedral -- November 5, 1995.

*** The concert which opened the Bermuda Philharmonic Society's 35th season, was unusually reliant on local talent. Whether or not the sharply reduced size of the orchestra was by design, or dictated by an economic tightening of the belt, is not altogether clear. In any event, director Graham Garton sensibly selected a programme of music which, at least in the first half, utilised the orchestra's strongest section, the strings. It says much for the overall improvement in musical standards over the last decade, that he was still able to field a selection of fairly demanding music by Albinoni, Vivaldi and Faure m .

This was also the first Philharmonic concert to take place since the Cathedral's new sound system -- a costly project that has taken six years to complete -- was fully operational, and apparently successful in finally ameliorating the baffling acoustical effects that have dogged so many Cathedral concerts.

The programme opened with the familiar, but always haunting Adagio for Strings and Organ by Albinoni. It begins modestly enough, as the organ murmurs the dominant theme accompanied by the plucking of the strings, before the full melody bursts forth. It never fails to charm and organist Ruth Henderson gave an impressive rendition, aided by the sensitive accompaniment by orchestra leader Kerry Haslam.

Vivaldi's `The Four Seasons', a suite of four short violin concerti written in 1725 and depicting each season of the year, remains one of the most popular in the musical repertoire. The baroque melodies are instantly recognisable, often because they tend to suddenly burst forth in up-market elevators, or liven up the phone wires as the caller is placed on `hold'. Set to four anonymous Italian sonnets, Vivaldi's music is amazingly idiomatic -- one might say, literal, in his admittedly brilliant interpretation of birds a-twittering, cuckoos calling, dogs barking, thunder rolling and peasants dancing in a haze of pastoral revelry.

Mr. Garton made this progression through the seasons even clearer for the audience through the use of a large print-out of the sonnets (which presumably lose more than a little in the translation) with corresponding alphabetical references.

Musicians from the Menuhin Foundation took the limelight for this work, providing the four solo violinists.

Carolyn Fell opened with a confident account of the `Spring' Concerto No. 1 in E, briskly beckoning the orchestra to follow her through the excited chatter of birdsong, to the `flowering gentle meadow' of the second movement and into the delightfully bucolic dance rhythms of the final Allegro .

Leader Kerry Haslam, one of the Island's best-known soloists, took on the initially more languorous tones of the `Summer' Concerto (No. 2 in G Minor).

She handled beautifully, the lonely song of the shepherd boy and the sudden change of pace that comes with a violent summer storm.

`Autumn' (Concerto No.3 in F), another marvel of musical illustration with peasants still dancing, this time aided by Bacchus as they gather the harvest, was played by Sarah Bridgland. The third movement contains the famous hunting sequence, stirringly played by soloist and orchestra.

Finally, the fourth Concerto, `Winter', with its shivering trills on the strings, which herald the `glittering snow' -- was impressively matched by the sharp clarity of Diane Hamilton's opening solo. Then followed the plaintive lyricism of the slow movement, as the orchestra supplied the sound of incessant rain through the plucking of strings, leading into the whimsicality of the finale.

Alison Johnstone (lead cello) and Ruth Henderson on harpsichord provided strong support for the four soloists in this work.

Gabrield Faure m's `Requiem', written in 1888 for soloists, chorus, organ and orchestra, is a constant favourite for choral societies, especially in his native France. Gentle and understated, it is a work of harmonic beauty. This performance was perhaps overly muted, the occasionally ragged chorus never quite capturing the sense of serenity which the work demands. Some of the soprano singing, in particular, tended to shrillness and overpowering of the now pitifully small tenor section.

This performance marked the Philharmonic debut of Bermudian soprano, Madree Cross, and the first time she had faced the probably daunting experience of performing with an orchestra. She possesses a strong voice, which gave a confident account of the lovely `Pie Jesu' section.

Baritone Peter Nash, whose voice is in fine fettle, rose, as always, to the sense of occasion, in the solo passages of the `Offertoire' and `Libera Me'.

PATRICIA CALNAN REVIEW REV