Review by Tim Arnold
On Saturday 15th November, a capacity audience at All Saints Church, Hove gathered to experience the power of remembrance through the music of Gustav Holst, John Williams, and Carl Orff. The occasion was the Sussex Symphony Orchestra’s memorial concert, presented in partnership with Sussex Chorus, Burgess Hill Choral Society, the Roedean School Ragazzi Choir, and soloists Zita Syme, Stephen Anthony Brown, and James Cleverton. Under the assured direction of Mark Andrew James, these combined forces undertook a musical journey that embraced almost every imaginable emotion.
The concert opened with Mars from Holst’s The Planets. Composed between 1914 and 1917, the suite reflects Holst’s deepening fascination with astrology. Mars was the first movement he completed, in mid-1914—just before the outbreak of the First World War—and its depiction of mechanised brutality remains chillingly prophetic.
From the jagged, irregular rhythms of the opening to the almost terrifying final bars, conductor Mark Andrew James steered the ensemble with unwavering control. Despite the movement’s brass-heavy writing, the section produced a consistently full, rich tone, while the timpani and bass drum maintained a carefully judged blend that is crucial to the score’s impact. The whole orchestra handled the layered textures and extreme dynamic contrasts with assurance. Aside from a slightly ponderous central section, the performance captured the music’s relentless, machine-like drive, galvanising the audience much as it must have done in its earliest performances.
John Williams’ Hymn to the Fallen offered a poignant contrast with its deceptively serene character, sensitively realised by choir, orchestra, and conductor alike. The wellsupported choral tone was almost always beautifully balanced with the orchestral textures. Intonation and blend from both singers and players were consistently impressive. The restraint and control shown by the delicately handled snare drum also played a significant role in shaping the emotional impact of this deeply moving music.
Few works in the twentieth-century choral repertoire create such instant excitement as Carl Orff’s Carmina Burana, and this performance captured its spirit with exhilarating energy. From the electrifying opening of O Fortuna, the audience was swept into Orff’s vivid world of fate, fortune, love, and exuberant celebration — brought to life by the singers and instrumentalists assembled for this concert. Inspired by medieval poems unearthed at the Bavarian monastery of Benediktbeuern, the work’s colourful stories and larger-than-life characters were delivered with thrilling conviction.
At the heart of the performance was the choir, whose commitment and musical discipline shone throughout. Carmina Burana demands stamina, clarity, and fearless expression, and the singers met these challenges with aplomb. Their dynamic control ranged from finely focused softness to full-throated climaxes. Aside from momentary lapses in coordination and intonation they demonstrated impressive confidence and preparation. The humour and charm of Chramer, gip die varwe mir were beautifully realised by the ladies, while the gentlemen brought tremendous character and gusto to the riotous drinking song, In taberna quando sumus. Although the opening O Fortuna was gripping, the final reprise was simply electrifying; tightly articulated, rhythmically incisive, and delivered with thrilling unanimity.
The soloists added further brilliance to the performance. Zita Syme brought radiant tone and graceful poise to her movements, with her performance of In trutina mentis dubia offering a moment of breathtaking stillness and beauty. Tenor Stephen Anthony Brown embraced the vivid theatricality of the “roasted swan” with fearless commitment, delivering its soaring lines with both humour and dramatic flair. Baritone James Cleverton gave a commanding performance, projecting effortlessly over the orchestra and offering a compelling emotional range — from the fiery intensity of Estuans interius to the tender warmth of Dies, nox et omnia. His versatility added a powerful narrative thread throughout the work.
The Sussex Symphony Orchestra contributed superbly to the success of the evening. Their precision, colour, and responsiveness brought Orff’s score to vibrant life, from delicate instrumental textures to bold, propulsive rhythms. There was a momentary loss of clarity in movement six, The Dance, but this was only a tiny blemish. The percussion section provided a thrilling backbone to the performance, and the interplay of strings and woodwinds added clarity and atmosphere in all the right places.
Under the inspiring direction of Mark Andrew James, there was unity, passion, and musical purpose. Guiding such a large ensemble is a formidable task, yet his leadership ensured clarity, dramatic pacing, and an authentic sense of shared achievement. The result was a performance that radiated energy, commitment, and the joy of collective music-making.
This Carmina Burana was not only a memorable musical event — it was a celebration of what can be achieved when singers, instrumentalists, and conductor join forces with imagination, dedication, and wholehearted enthusiasm. The audience’s response made it clear that the impact of this performance will be remembered for a long time to come.
Tim Arnold 16th November 2025