United Kingdom Debussy, Karim Al-Zand, Anna Clyne, Ravel – Shimmer: Inbal Segev (cello), The National Youth Orchestra / Alexandre Bloch (conductor). Warwick Arts Centre, Coventry, 5.1.2026. (CP)
Debussy – Images pour orchestre: Ibéria
Karin Al-Zand – City Scenes
Anna Clyne – DANCE
Ravel – Rapsodie espagnole
Without exception, The National Youth Orchestra musicians use the annual ten-day residency at Warwick University to combine to produce moments of previously unheard brilliant music-making. As conductor Alexandre Bloch took a seat at the piano, he was joined by an ensemble comprising a guitarist, saxophone, trombone, bassoon, trumpet, tuba and percussion for one of the most famous jazz standards of all time – Autumn Leaves. During this happy interlude the many sections of 160 musicians filed on to the platform, standing in place before receiving a signal to sit – a marvellous exhibition of organisation and discipline! Bloch was replaced at the piano and emerged with a baton to conduct Images pour orchestre: Ibéria, the first of two works in the Shimmer programme inspired by Arabic culture, a feature of much Spanish music. Tenacious brass playing including three tubas and muted trombones set a high standard for the evening.
These talented musicians spend much of their residency tackling the demands of exploring extraordinary music to develop the skills to unselfishly share this experience and become role models in their communities. This remarkably confident brass playing, a feature of the evening, was supported throughout by the large dependable percussion section, used extensively in Karim Al Zand’s City Scenes (2006). The work reflects the busy lives city-dwellers lead today, cleverly portrayed by the well organised percussion section, complemented by exciting vibraphone playing and shimmering strings, within a work so suited to a vast orchestra. How often do we see ten double basses employed on platforms today?
NYO seeks to enhance the reputations of comparatively new composers. Anna Clyne’s DANCE, is full of sparkling strings, dramatically delivered vibraphone, marimba and xylophone playing to accompany the stunning cello playing of their guest soloist, Inbal Segev. This work, written for her in 2019, allows Segev to show her well-crafted interpretation of contrasting dance moods, each rendered with elegant nuance and occasional thrilling effects. Viola, cello and violin section leaders were summoned to their feet at the conclusion of the work to receive positive feedback on their individual contributions. Leicester Grammar School students, sitting nearby, certainly enjoyed the efforts of the percussion players. Not even poor weather conditions could stop these young people from late-night journeys to hear such inventive, and at times, dramatic playing. During the pre-concert talk and interviews, many of the more pertinent questions came from this student group. At their Barbican Hall concert the previous evening, 40% of the audience were young people, NYO’s planning team proved right once more in recognising the importance and the promotion of comparatively new works for upcoming generations.
With its percussion section delivering a boisterous final movement to Ravel’s Rapsodie espagnole, NYO maintained the Iberian connection. Muted strings present themes in the first movement which appear again in the flamenco dance rhythms of the second, preceding the launch into the riotous carnival of the last movement. Percussionists do work hard at times – this was one such occasion!
NYO at Warwick has certain traditions to maintain. Section players entertain the audience in the foyer before the concert – last year with many harps, this year horns plus tubas and trombones. This is most encouraging scene setting for what proved to be an engaging concert in several ways. Firstly, those 160 musicians enjoyed working with Alexandre Bloch and his keenness to be involved in their exciting sharing of a passion. Second, the audience were encouraged to be involved with one of NYO’s most outrageous encores! A trumpet fanfare introduced Rossini’s William Tell Overture Finale, but the work was then sung by the orchestra with some audience participation. What a gamble!
As in previous years NYO’s strategy to be innovative and develop the creative talents of members made a success of things. Another tradition to be applauded is the approach used to introduce each work – one individual speaking for each. Emma Sandford, principal horn from Bromley deserves a special mention. Her delivery was faultless, every word of explanation of the Ravel work clearly heard. Not only will these young musicians be role models in their communities, but many will also benefit from the life-changing experiences of these residencies and the associated concert performances. It will be no surprise to see many of these names at conservatoires across Europe in years to come. Very few will regret missing two days schooling to be part of this hugely supportive team.
Clive Peacock
Featured Image: Alexandre Bloch conducts the NYO at Warwick Arts Centre © Phil Crowther