A joyous, festive celebration of Respighi’s most beloved music

Conducted by Roberto González-Monjas, a Guildhall alumnus himself, this performance of Respighi’s ‘Roman Trilogy’ by the Guildhall Symphony Orchestra in the Barbican Hall was an unmitigated delight.

Written between 1915 and 1928, these three orchestral pieces are Respighi’s most celebrated works. Respighi was trained at a young age to play the violin by his father – perhaps this is one of the reasons why González-Monjas, himself an extraordinary violinist, seems to understand these orchestral pieces so well.

The setting and acoustics of the Barbican worked well, although the hall wasn’t packed, and the audience seemed to consist mostly of friends and family. Perhaps the supply of excellent classical music exceeds demand in this city!

The programme opened with Andrea Tarrodi’s Ascent, a more modern piece, composed in 2014-5, with the composer’s notes containing references to ‘oceanic trench’, ‘outer space’, ‘whale song’ and ‘cacophony’. I certainly couldn’t argue with this description. The piece was otherworldly for certain, rather eerie, and often discordant. Aside from an excellent solo by first violin Harry Kneeshaw, and Emily Sullivan on the harp, I found little here to my musical taste. However, it was admittedly, the music that I found fault with. The piece was well-played, and well-executed.

Anyone who hadn’t come solely for the purpose of seeing a loved one perform, and perhaps a sizeable number of those who had, would have found the highlight of this programme to be predictably, Respighi’s Pines of Rome.

Here, the audience were able to appreciate the full depth and skill of the orchestra, unhampered by the jarring notes of modern composition. The music really allowed the display of the talent on stage here, Kneeshaw again with a brilliant solo, although it was Immy Timmins as 1st trumpet who got the spotlight, with a frankly exquisite, borderline angelic, solo towards the end of the second movement.

Fountains  and Festivals were equally enjoyable, with a particular mention to Maria Rojas Cruz and Lily Payne for the oboe and clarinet solos in Fountains respectively. An extraordinarily well stocked double bass section played their part well, and a shout out to George Strivens leading the horns in the second half, some lovely playing, also in Fountains. The brass and timpani get their moment to shine in Festivals – Respighi really does make use of the full orchestra – and those members of the audience less familiar with this piece were, I think, pleasantly surprised by the appearance of a mandolin – courtesy of Ralph Porrett.

Of course, Pines is the crowning jewel musically, but I think everybody involved had the most fun with Festivals. The fourth and final movement of the whole performance, Epiphany: Vivo, was infectiously fun, credit again to González-Monjas for capturing the mood of the music brilliantly.

Upon reflection, I would have been happy with a programme consisting only of Respighi’s Pines of Rome as I’m not sure the inclusion of Tarrodi’s Ascent really added anything to the performance – but then again, I am a purist.

Unfortunately, this was a one night only deal, but keep an eye out for future performances by the Guildhall Symphony Orchestra. They were talented and impressive – under the careful tutelage of Roberto González-Monjas, this orchestra was slick, precise, and rehearsed to perfection.