Review from Richmondshire Concerts - November 2022
Meliora Collective, the “pocket orchestra”, delighted all at their performance in Richmond, North Yorkshire. It’s always good to see and hear a larger chamber group and the Meliora were no exception. The not too frequently heard second nonet by Martinů was actually the most familiar piece on the very imaginative programme. The first piece was Deborah Cheetham’s Nonet,“Ngarrgooroon” which was commissioned by Chineke! and premièred by them earlier this year. It’s an extremely atmospheric representation of outback Australia with nine carefully interwoven parts, each blending beautifully to produce a richly scored texture. Mendelssohn’s Scottish Symphony may not be a rarity but the Meliora’s dectet version certainly is. The clever arrangement by Joel Roberts managed to convey all of the excitement of this symphony and more. The string parts became more transparent with one player to each line and there was no sense of a lack of trumpets or timpani. The excitement of the piece was emphasised by seeing ten young players relishing the challenges of
the score.
Meliora Collective, the “pocket orchestra”, delighted all at their performance in Richmond, North Yorkshire. It’s always good to see and hear a larger chamber group and the Meliora were no exception. The not too frequently heard second nonet by Martinů was actually the most familiar piece on the very imaginative programme. The first piece was Deborah Cheetham’s Nonet,“Ngarrgooroon” which was commissioned by Chineke! and premièred by them earlier this year. It’s an extremely atmospheric representation of outback Australia with nine carefully interwoven parts, each blending beautifully to produce a richly scored texture. Mendelssohn’s Scottish Symphony may not be a rarity but the Meliora’s dectet version certainly is. The clever arrangement by Joel Roberts managed to convey all of the excitement of this symphony and more. The string parts became more transparent with one player to each line and there was no sense of a lack of trumpets or timpani. The excitement of the piece was emphasised by seeing ten young players relishing the challenges of
the score.
Review from Clitheroe Concerts Society - May 2023
They opened their recital with two contemporary works, both very warmly received.
Nine players began the concert with ‘Ngargooroon’ by Deborah Joy Cheetham.
This work contains musical renderings based on the calls and songs of Australian
birds.
Four members of the collective followed this with another contemporary work, the
string quartet ‘Entracte’ by Caroline Adelaide Shaw. Loosely based on the music of
Haydn, it does not overtly sound like his music, containing subtle glimpses of both
baroque and classical that have found themselves in the wrong century. This, and the other
contemporary work that opened the recital were both very warmly received.
Turning to a more classical work, seven members of the ensemble next played ‘En
Saga’ by Jean Sibelius. Originally composed as a septet, the original is long lost.
Sibelius subsequently revised it a number of times until it was transformed into the
orchestral work we know today. Consequently, this arrangement for seven players was
made by G. Barrett. Understandably, this was more familiar to the
audience than the two preceding works and received much applause.
After the interval, all ten players performed the evening’s final work, Felix
Mendelssohn’s Symphony No.3 in A minor. Between them, the musicians covered all
but two of a symphony orchestra’s instruments - trumpet and timpani. With an
arrangement by a member of the collective, it filled the superb acoustic of the church
with sound and it was difficult to believe that we were not listening to a full symphony
orchestra. Not surprisingly, all ten musicians received thunderous applause.
They opened their recital with two contemporary works, both very warmly received.
Nine players began the concert with ‘Ngargooroon’ by Deborah Joy Cheetham.
This work contains musical renderings based on the calls and songs of Australian
birds.
Four members of the collective followed this with another contemporary work, the
string quartet ‘Entracte’ by Caroline Adelaide Shaw. Loosely based on the music of
Haydn, it does not overtly sound like his music, containing subtle glimpses of both
baroque and classical that have found themselves in the wrong century. This, and the other
contemporary work that opened the recital were both very warmly received.
Turning to a more classical work, seven members of the ensemble next played ‘En
Saga’ by Jean Sibelius. Originally composed as a septet, the original is long lost.
Sibelius subsequently revised it a number of times until it was transformed into the
orchestral work we know today. Consequently, this arrangement for seven players was
made by G. Barrett. Understandably, this was more familiar to the
audience than the two preceding works and received much applause.
After the interval, all ten players performed the evening’s final work, Felix
Mendelssohn’s Symphony No.3 in A minor. Between them, the musicians covered all
but two of a symphony orchestra’s instruments - trumpet and timpani. With an
arrangement by a member of the collective, it filled the superb acoustic of the church
with sound and it was difficult to believe that we were not listening to a full symphony
orchestra. Not surprisingly, all ten musicians received thunderous applause.