Review by Mike Wheeler
Cog wheels, gears, levers, gravity – not obvious song material. But of course Sinfonia Viva and the Derby schoolchildren and students taking part in the orchestra’s latest schools residency project aren’t going to be fazed by a trifling consideration like that.
After a short film of the project in action, it was over to Viva and the students, performing the songs and instrumental pieces they had written on the theme of ‘Mechanical Advantage’. Composer and workshop leader James Redwood provided his usual inventive orchestral arrangements, as well as acting as the evening’s compère, a welcome innovation for these concerts, as was the film.
The imaginative structuring of the student pieces and the kids’ mastery of their intricacies were impressive, as always. The count-down to lift-off of Derby College’s instrumental Diabolic Parabola included some subtle canonic touches. Gravity, Don’t Ground Me, sang the children of Beckett Primary School; their opposite numbers from Firs Estate Primary school introduced us to the unpleasant creatures living On the Dark Side of the Moon; Chellaston Academy’s instrumental Power of Five included some impressive solo and small group moments. In another new feature, the audience had a role to play, with the ‘clapping chorus in three groups’ in the song Ratio 345, about gear ratios and their overlapping patterns, as well as joining in the call ‘load, effort, fulcrum, distance!’ that punctuated the final song, Levers, by James Redwood with words by Hazel Gould.
With Dutch conductor Frank Zielhorst making his Sinfonia Viva debut, the orchestra added its own contributions. The interlocking patterns of Michael Torke’s Adjustable Wrench were neatly dovetailed, the mid-air ending left hanging delightfully. Workers’ Union, by Louis Andriessen, requires the orchestra to combine tightly disciplined rhythmic playing with a choice of actual notes from only approximate notation, with compelling results. The perpetual-motion machine that is the finale of Ravel’s G major Violin Sonata, in Graham Hall’s imaginative orchestration, was kept spinning purposefully and, as a counterbalance, the first movement of Brahms’ Serenade No 1 brought some open-air freshness to the evening.
With so much uncertainty facing musical activity in schools, Viva’s residencies remain a cause for celebration.