This evening’s concert at the Philharmonic, with the orchestra ably led by conductor Geoffrey Paterson, was a clear demonstration of the importance of and the Philharmonic’s commitment to offering new or lesser-known pieces alongside those more familiar to or popular with audiences.
The performance opened with a short piece –Boccherino’s Ritirata notturna de Madrid, composed in 1780 to evoke the sounds of the band passing as the City Watch retired from the streets. Nearly two centuries later, Luciano Berios superimposed Boccherino’s different arrangements of his original piece to create a new work that retains the essential elements of Boccherino’s music but with a modern twist. The audience heard the sound develop from the quiet roll of the drum with the gradual introduction of the different sections of the orchestra taking up the themes, becoming increasingly louder as the band supposedly comes closer, then gradually fading away into the distance.
This was followed by a stunning performance by the choir singing Bernstein’s Chichester Psalms. Were further proof needed of the choir’s professionalism after singing in Old Church Slavonic for Janacek’s Glagolitic mass last season, it was provided by tonight’s rendition of the psalms in Hebrew. The drama of the music makes it instantly recognizable as a Bernstein composition, but most memorable was the ability of the choir to convey the emotion behind the words, with Uruguayan counter-tenor Agustin Pennino as the soloist also combining a purity of tone with expression and feeling. Choir members Patricia Heyes, Phoebe Garvie, Daniel Evans, and Ruediger Jergan Ruwe deserve special mention for their solo contributions.
Next was Copeland’s Clarinet Concerto, where a reduced orchestra accompanied world-renowned clarinetist, Julian Bliss. The concerto has the unusual form of two movements connected by a cadenza, and it provided the perfect platform for Bliss’s extraordinary talent. His playing was hauntingly beautiful and delicate in the first movement, syncopated and jazz-like in the second, with the cadenza showing the full range of both the instrument and his mastery of it.
After the interval came a feast of Finland and feathers with, first, Einojuhani Rautavaara’s Cantus arcticus.Subtitled ‘Concerto for Birds and Orchestra’, it is based on Rautavaara’s recordings of bird song from his travels in the north of Finland. This three-movement piece has the orchestra accompanied by, intertwining with, or echoing taped birdsong. An unusual piece – and possibly not to everyone’s taste – it demonstrated the orchestra’s ability to rise to the challenge with excellent playing throughout, and perhaps a reminder of the music that surrounds us in the natural world providing we take the time and effort to listen.
Birds were also the inspiration for the final piece of the evening – Sibelius’ Symphony No. 5 – with the composer entranced by the sight of 16 migrating swans flying overhead. Originally in four movements, Sibelius later decided to have the scherzo develop organically from the first movement, and Paterson dealt masterfully with the transition. From the evocation of sunrise with the horn motif, the folk-like themes, the delicate and playful pizzicato, and the changes in mood and intensity, with Paterson holding his nerve for the crisp chords and extended pauses in the final moments, the entire performance was remarkable and was greeted with applause and cheers by the audience.
Sibelius Symphony No. 5
Royal Liverpool Philharmonic Orchestra and Choir
Geoffrey Paterson – conductor
Reviewer: Johanna Roberts
Reviewed: 11th October 2025
North West End UK Rating: