Monthly Archives: February 2013

Written in the Wind Review – Lichfield Express and Star

DECO_WrittenintheWindA nineteenth century critic described the oboe as “…an instrument that is more than even the English can stand indoors”, so spending a Saturday night listening to an ensemble led by an oboe might not appeal to many.

How wrong can that be?  The Darwin Ensemble Chamber Orchestra’s wind section displayed mastery of Mozart and Dvorak in an evening which brought smiles to many faces in the enthusiastic Lichfield Cathedral audience.Leader George Caird, directed the ensemble through Mozart’s well known serenade for wind octet.  The range of colours in the piece was remarkable given the small instrumental forces with the oboes and clarinets stealing the show.  But it was the arrangements of Mozart’s operatic arias that fascinated most.  Caird explained their origins as “the downloads of their day”.  Mozart’s tunes were so popular that wind bands would arrange them so that they could be reproduced easily and used in other settings.  They were charming and fun – not mere echoes of the arias but adding new textures and even humour. Dvorak’s serenade offered majestic melodies, a dream like minuet, the sweetest of oboe sounds and a sound portrait of modern life.  Live music at its Christopher Arnold

Written in the Wind Review – Lichfield Mercury

DECO_WrittenintheWind“Written in the Wind” was the title of the latest Lichfield cathedral concert by the Darwin Ensemble Chamber Orchestra. This was DECO stripped back to its basic wind and brass section – just eight players in all, directed by veteran principal oboe, George Caird.

But any fear that an all-wind programme might lead to monotony was very quickly dispelled. As Caird pointed out, this was a favourite line-up of Mozart’s – and the concert opened with Mozart’s moody C minor Wind Serenade. After a slightly shaky start, this blossomed into a taut-paced, enjoyable performance.

And if three of Triebensee’s wind-band arrangements of arias from Mozart’s Don Giovanni tended to point up just how imaginative, by contrast, was Mozart’s own scoring – well, they were played with irresistible charm. After the interval came Dvorak’s wonderfully folksy Wind Serenade; adorable music, played with bright-eyed enthusiasm and real tenderness. Peter Wilson went at Dvorak’s delightfully incongruous cello part as if it was the same composer’s Cello Concerto. Simply terrific.

by Richard Bratby