Saxophone arouses us from siesta

Many of us journey to Spain for summer sunshine and sangria. Opening with Rimsky-Korsakov's Capriccio Espagnol, the orchestra both aroused us with the pulsating rhythms of the fiesta and soothed us with the sweet sounds of the siesta.

Invented over 160 years ago, the saxophone is mainly associated with big bands, jazz and even street buskers but, all too rarely, in its classical role. Indeed, BPO has never, in its 83 year history, included a work for solo saxophone.

Guest alto saxophone soloist, John Harle, one of the world's finest exponents, redressed this deficiency. His stunning virtuosity and divine lyricism in showpieces by Debussy (Rapsodie pour Orchestre et Saxophone) and Milhaud (Scaramouche), thrilled us all.

Between these displays of wizardry, we relished the magic of Kikimora, composed by Anatol Lyadov. The highly-informative programme notes advised us that Lyadov had actually declined a commission to write the music for the Firebird . . .

This began with contributions from the very depths of the orchestra, the double bass section, and displayed a rich tapestry of sounds throughout the orchestra, ending with a flourish from the orchestral apex, the piccolo.

Prlude de l'aprs-midi d'un Faune, one of Debussy's most popular works, is frequently heard on the radio. How very refreshing not only to hear but to see this performed live.

We will never know what Lyadov might have produced but Stravinsky's ballet music for The Firebird is truly outstanding. Piano, celeste, harps and sensuous strings combined with the rest of this fine orchestra to bring a memorable concert to a thrilling close.