Academy Symphony Orchestra
Sir Mark Elder
Duke’s Hall, Royal Academy of Music, 27 February 2026
It’s always a joy to hear the cream of the next generation of professional musicians working with a Big Name. And on this occasion, one could feel every single player responding to the experience and charisma of Sir Mark Elder.
Always an engaging speaker, Elder told the audience (Duke’s Hall was packed to the rafters) that he had deliberately chosen two very different pieces which have nothing in common other than that they don’t get performed very often. That makes them good learning experience for the students, he said. He also treated us to a story that I’ve never heard before. Sibelius and Elgar never met. However they conducted the two works played in this concert at an event in Birmingham in the early years of the 20th century. But no one thought to introduce them!
Then, with second violins on Elder’s right, next to the cellos, we were treated to Sibelius’s Symphony no 6. The first movement came with rich clarity especially from the upper strings and Elder really pointed up the dramatic general pauses. I admired the smoothness of tone he coaxed in the Allegretto and the dance quality in the third movement especially in the ascending and descending scales. There were some lively mood changes in the Allegro with fine playing from double basses and harp and a very disciplined morendo ending.
For the second part of the concert, forces were enhanced by, among others, several more percussionists and a second harp. Elgar’s Falstaff is a story told in music. It takes the big. bombastic, Falstaff from both Shakespeare’s Henry IV plays, and the very beginning of Henry V and details his life. The composer called it a “Symphonic Study.” it’s effectively a musical biography. It’s full of life – as Falstaff is although, of course, he is denied a happy ending – and must be great fun to play. Highlights of this accomplished performance included the insouciant cello solos (Jae Min Kim Kang) and contra bassoon (Max Docherty) as Falstaff flirts with his favourite whore. The snoring interlude (Nona Lawrence on tuba) was witty and leader Nathan Mierdi’s solos as the ageing Falstaff dreams of his youth were played with all the poignancy they need. Then there was some nifty snare drum playing as Falstaff recruits for the Battle of Shrewsbury and the big coronation tune for Henry V came with energy and warmth.
Finally, of course, we get to “I know thee not old man” as Henry rejects his old friend and the muted ending was nicely nuanced. As I listened and watched, I found myself wondering whether these talented young players have ever seen or read the plays which inspired this piece and second, whether it matters.
