On their opening concert of the season on the 16th November, The Isle of Wight Symphony Orchestra will be giving a rare performance of the above work, which dates from 1902 and was often played at Sir Henry Wood's Promenade Concerts early last century. The young soloist will be Tmiothy Ridout, winner of the Lionel Tertis International Competition in 2016. Other works in the concert comprise Sibelius's Karelia Suite and Wlly Walton's fine First Symphony. Tickets, costing £15, are obtainable via the Orchestra's web site at www.iwso.co.uk. I cannot guarantee that, due to present health problems, I will be there, but I hope to make it. By the way the concert's venue will be The Medina Theatre, Newport Isle of Wight.
Cheers,
John.
I had a good look at the score of "The Dark Road" for viola solo and strings a while ago. I remember it struck me as a very individual style, a little esoteric perhaps? Anyway I hope the concert is well attended and wish the soloist good luck. :)
Best wishes for a swift recovery from whatever ails you, John. I hope you make it to the concert.
This is very interesting! One of the earliest British viola concerti (I think it's been claimed as the earliest, but McEwen's is older by a year or so). It's also interesting that the rather odd Forsyth seems to have said some incredibly rude things about the viola as an instrument in later years. I'm afraid I don't have a reference.
Not in his own Orchestration textbook, anyway, maybe somewhere else?
I saw it quoted in Gramophone, I think, in an article about violas. The writer showed no awareness that Forsyth had himself written a viola concerto.
according to Wikipedia Forsyth played viola as well in several London orchestras. Still, not incompatible with harboring ill feelings towards one's own instrument.
I can well understand that viola-players may develop a love/hate relationship with their "Marmite" instrument (tr. for non-Brits "loved by some, hated by others". I nearly said "many"). It's exceptionally hard to find one that sounds brilliant at the top and rich at the bottom. Players can't even agree on the best size and shape they should be. Of course, if you were to scale them according to their pitch in relation to the violin and cello they should be so large as to be unplayable on the shoulder.