Philharmonia Orchestra

This was a concert of commemoration and coronation. On Boxing Day last, Hugh Bean died. He was for many years a distinguished member of the Philharmonia Orchestra, including two terms as Leader, one as Emeritus. This concert was dedicated to Bean who was fondly remembered in the programme. Appropriately it was a young violinist who was celebrated - Sergey Dogadin, born 1988 in St Petersburg, has an assured international future. He went in at the deep end with the Beethoven concerto and emerged unscathed. He is mature, although 'natural' seems the better word, and brought to the Beethoven unhindered lyricism and a flexing of muscles that's just right for this expansive piece.

He isn't, though, a 'wunderkind', someone for the hype merchants, for Dogadin has innate style and genuine focus on what he does. With playing-poise, enormous confidence and a relaxed stage presence, Dogadin is first and foremost a musician, one already carving a niche for himself and his 'extra' cadenzas before the finale and during it showed an individual persuasion. Of the printed text itself, Dogadin was a selfless and perceptive interpreter; quite a coup for Sydenham Music to have introduced him.

Such initiative belongs to Robert Trory, who was an alert accompanist, the Philharmonia Orchestra's pedigree shining through, as it did all evening. Robert Trory has St Petersburg connections too in that he studied there with Ilya Musin. Although he is demonstrative and visually committed, Trory lets the music flow and trusts the musicians and he also has a distinctive view of the pieces played; there was no doubting the overture heralds an opera.

With the important first-movement exposition repeat in place, Trory led an eloquent, deeply felt Brahms 2 of strong current, the more-andante Adagio very convincing. Only the rather inorganic 'kick' in the very final pages slightly detracted, as did a tendency for trumpets to be a tad dominant, but overall this was a musical and intense reading illuminated by typically-characterful woodwind and horn playing and warm string-sound.

Colin Anderson - "The Classical Source"

"The conductor Robert Trory, had earlier directed an impassioned account of Beethoven's Fidelio Overture and the Philharmonia was clearly on excellent form. the programme ended with a wholly committed performance of Brahms' Second Symphony. this was a genuine reading of deep understanding. An memorable evening and entirely musical in the best sense.

" Robert Matthew-Walker - "Musical Opinion"

It is a rare and exceptional privilege to hear youth bursting out with technical brilliance and mature musicianship far beyond the years of childhood. Such was that uplifting moment listening to the 15-year-old violinist Sergey Dogadin.

Born in St Petersburg, Russia, in 1988 into a musical family, his talent was recognised at the early age of 9. In 2000 he entered the Glazounov Violin Competition in Paris and in 2002 won First Prize and Grand Prix in the Andrea Postaccini Chamber Music competition in Fermo, Italy.

Robert Trory, Music Director and conductor-in-residence of 'The London Orchestras Series' has brought the richness of classical music and its performers to suburban London. The Borough of Lewisham must be given the highest praise for organising and sustaining such an outstanding venue equal to any in Central London. Trory's international commitments discovered this exceptional talent in Russia, where he himself studied conducting, and he invited the young Sergey Dogadin to make his debut in London.

The concert opened with an Overture to the Opera 'Fidelio' by Beethoven. With explosive and blazing opening notes, Robert Trory presented the overture, which the Philharmonia Orchestra delivered with energetic verve and flair.

The first immediate impression of the young Dogadin is that he is a technical master of the violin. His control of the bow allows him every nuance of phrasing that he wishes. His fingers run with point-blank precision and ease. To the knowledgeable, it tells of many years of disciplined practising and fine tutorage. Our eyes and ears are captivated by such prowess in a youth and for a brief moment we lose the music of Beethoven.

In the second movement marked Larghetto, we hear Dogadin mould phrases of Beethoven with his own personal warmth and sensitivity. He speaks with a maturity that reflects the very maturity of the adult audience before him. With the orchestra setting a melodic line the solo violin hovers like a tiny bird in the sky surveying from above and resting in the greenery below. Trory's' conducting, once an accomplished violinist himself, kept in very close touch with Dogadin's sensitive phrasing.

From this pastoral scene Beethoven launches into the final movement with a rhythm and theme suggesting a coach and horses on the canter. Dogadin's fingers flew up and down the fingerboard with the theme coming back again and again. In a brief moment, the soloist Dogadin and conductor Trory exchanged smiles of understanding as the music bubbled along exhilaratingly to a bravura ending. A standing ovation greeted the youthful Sergey Dogadin.

Robert Trory's energetic conducting translated itself into the Philharmonia Orchestra and brought alive the energy and power of Brahms Second Symphony. The second movement, Adagio, is given to the lower sounds of the cellos. Trory's tempo was in good taste and as Brahms had indicated, not too slow. The movement still retains a feeling of melancholy but is warmly optimistic in its flowing melodic lines.

The tempo of the third movement starts in the style of a minuet but soon goes into a quiet Presto, which the strings delicately picked out. Again Trory's tempo was well chosen and just fast enough for the delicate precision needed by the strings.

The quiet weaving of melody start the last movement and soon grows into heroic symphonic proportions. The music was exciting, enthusiastic and cascaded into a furious speed to the end. Trory kept the reins well in hand and never let the tempo become wild. But the audience did and Trory and the Philharmonia well deserved the overwhelming generosity of applause from the audience. Stephen Long - "Morning Star"