Guirne Creith "Concerto in G minor" for Violin and Orchestra

Saint Paul's Knightsbridge proved an amicable setting for the West London Sinfonia's first public performance of Guirne Creith's Violin Concerto. Recently rediscovered, as told in a previous entry, the work deserves a place in the repertoire, as it is not only an important statement by a woman composer in the early 20th century, but more so because it is such an attractive and personal work. Written in three movements, and performed with great poise and poetry by Tamsin Waley-Cohen, the work comes across as a very polished, colorful and dramatic work, the highlight being the intimate slow movement which falls into the very best tradition of English string writing. There is something intensely feminine and sensual about this work, felt immediately by the motive that is heard immediately at the beginning, and reappears at important moments trhoughout the work. Its rather like a spontaeneous caress,being so surprising and intimate. The orchestration is big, and gives prominent display for the winds especially. Perhaps it would be a challenge to keep the orchestra down at times, but the violin part alternates from solo passages to concertante passages, where it is absorbed into the fabric of the orchestration. The work shows its time and place by reminding one of the style of Elgar or Delius, but the strength of the work is nevertheless in its originality which never comes close to being a mere copy of former styles,rather adding a path of its own. Waley-Cohen was able to hold her own against the full orchestra, and brought a distinct and very musical approach to her performance. Conducted with authority by the gifted conductor Peter Hesketh, the work was received with enthusiasm. One hopes a Prom performance is in the future.

The West London Sinfonia, an amateur group with a few professionals and music students, proved to be a well-trained and spontaineous group. The performance of the Berlioz "Symphonie Fantastique", only their second one, was very impressive, especially the excellent wind and brass sections.

Hearing a work that no one really remembered existed, performed after so many lost years, was a very moving experience for myself and the many family and friends gathered to hear the concert. I lived for a year in Guirne's home, and my memories of her are those of a very young man with more than a few rough patches throw together with a woman of vast life experience. Music was a common bond, and our conversations were probably the best I will ever have with another musician. That the concerto itself should so closely catch her personality and point of view made for one of life's more memorable moments. Soon to be published, the Guirne Creith violin concerto will undoubtedly receive many performances.