European Philharmonic Chamber Orchestra Christ Church, Skipton Although entitled European, this group embraces extra-European players, extending to South Korea.

They began with a Vivaldi Concerto which established their command of the Baroque style.

The orchestra was joined by Kitill Gusarov for The Trumpet Concerto Saint Marc by Albinoni. The trumpet can often sound shrill or harsh, but Gusarov’s playing was rich and velvety in the slow introduction and sparkled magically in the quick movement.

Bach’s Concerto for Violin and Orchestra in A minor displayed the true excellence of the group.

The Baroque era gave way to the 20th century in the second part of the programme via Holst’s St Paul’s Suite for String Orchestra, which was followed by Faure’s Pavane and finally Grieg’s Holberg Suite. This genre gave scope for their astonishing dynamic range coupled with subtle variations of tempi.

Kitill Gusarov re-joined the strings for a rollicking encore and the programme ended on a note of humour with the strings playing a Rondo version using the opening bars of Eine Kleine Nachtmusik interspersed with episodes of well-known tunes.

These players not only play together but they listen and play with each other, establishing unanimity between their national cultures in this splendid final concert of the Skipton Music Season.

Adrienne Fox Giggleswick Junior School’s Porridge Richard Whiteley Theatre Things are not looking good in Happy Valley: there are dark deeds going on in the woods and crime is on the rise.

Enter, Private Eye Jack Spratt to solve the mystery and cue songs and some appalling puns and excruciating old jokes in this entertaining retelling of popular fairy tales with a twist.

Like previous productions, the real hallmark of a Giggleswick Junior School show is not only the high standard of the performance but the fact that the pupils all seem to be enjoying it so much.

The singing throughout was of a very high standard with some great chorus work by the whole cast, including one number performed with actions as a part song – no easy task with youngsters. The soloists too were very confident, and extremely clear in their delivery.

Again this was true of all the speaking parts with some extremely creditable efforts at characterisation and some lovely cameo performances.

A show of this high standard is always the result of a lot of hard work and so special congratulations to the staff who have spent so much time helping the pupils to develop the skills which made this look so effortless, especially producer/director Sue Butler, artistic director Nicole McGoldrick and musical director Tricia Rees-Jones and to the boys in the very stylish Blues Brothers band for the wonderful musical accompaniment.

Gill O’Donnell Settle Orchestra Richard Whiteley Theatre Focusing on the twin movements of Romanticism and Nationalism, the evening provided a fascinating insight into the way in which music can be used more to reflect individual feelings and ideas rather than be constrained by specific formats.

It also effectively illustrated how this can be then used as a medium for storytelling through the interpretation of traditional folk tales.

The programme opened with Weber’s overture to Der Freischutz; a dark supernatural tale of good and evil which involves the betrayal of friendship as part of a bargain with the devil.

Under the baton of guest conductor Ola Ness the orchestra was working particularly hard to emphasise contrasts in speed, sound levels and mood.

This was again amply illustrated in the excellent performance of Greig’s two suites of incidental music to Peer Gynt.

The second part of the programme opened with the First Suite of English Folk-dances by contemporary Lancashire composer, Ernest Tomlinson. These arrangements of tunes dating from mid 17th century were a genuine delight.

The evening closed with Schumann’s Rhenish symphony: another piece of great dramatic contrasts.

Gill O’Donnell