On paper, the partnering of Britten and Korngold might seem a mismatch, but both composers went to the US pre- and during WW2. Before leaving, Britten had composed music for several documentary films in the UK. Korngold escaped from Europe with his family and dedicated himself solely to creating epic Hollywood film music there until Hitler’s Nazi regime was defeated.

Britten’s seascapes readily evoke the personal and public turmoil of The Borough within the diverse backdrop of Nature and the elements, powerfully conveyed in this raging and appropriately unsettling performance steered from the bridge by Sian Philips. Even the calmer Moonlight interlude ebbed and flowed with an ominous undertow of unease. Special praise for the percussionist on tam-tam for evoking such a spot-on array of diversely weighted strokes throughout – attention to detail at this level really does make a telling difference.

“Special praise for the percussionist on tam-tam for evoking such a spot-on array of diversely weighted strokes throughout – attention to detail at this level really does make a telling difference.”

As for detail, is there any other violin concerto in the popular repertoire that demands quicksilver technique and kaleidoscopic colour with such close interplay between soloist and orchestra? Intrepid soloist Ning Feng brought consistent verve and virtuosity, but occasionally without comparable balance of emotional nuance allowing the music to breathe intuitively. The composer makes it easier for the orchestra to integrate with its cinematic elan and lavish tuned percussion icing on the cake, but somehow a sense of disconnect prevailed. The encore of tortuously difficult solo Bach that followed brought a welcome oasis of calm and contemplative reflection.

After five previous symphonies, Dvořák 6 takes his symphonic output to another level opening the gateway to the great last three. Sian Edwards conjured both rip-roaring and elegant dance music with beautifully open-air freedom of expression throughout. The sense of the composer’s newfound confidence and liberation was palpably thrilling throughout. With so many individual standout solo moments to mention, the collective orchestral response was sensitively articulate and joyously rollicking at every turn – a much-needed tonic and a great win for Happy Music. More please…!

Critic Ian Julier

Catch up on this concert here until 26 December