By Dr. W. Gerald Cochran

Special to the Post

The birth of Princess Charlotte to the Duke and Duchess of Cambridge, the Salisbury (NC) Symphony, and Queen Elizabeth II’s achieving the milestone of longest reign of any British monarch – all excellent reasons for “English Elation,” the title of the final concert of the Salisbury Symphony’s 48th season, given in Keppel Auditorium of Catawba College. All of the works presented were by English composers.

Fittingly for a celebration, the program opened with “Fanfare for a Joyful Occasion” for brass and percussion by William Alwyn (1905-1985). This work has been referred to “as a fanfare with a difference.” The “difference” is that the work is dominated by the percussion, not the brass. It was dedicated to James Blade, who was a leading figure in British percussion music. It opens with a brass fanfare, but then moves to the percussion, ending with a great crescendo of both brass and percussion, a grandly played paean to the players and the entire orchestra.

Ralph Vaughan Williams (1872-1958) was perhaps the greatest of English composers, writing powerful and expressive music, considered typically English. His “Serenade to Music” was originally written for 16 vocal soloists with orchestra. He then re-wrote it for orchestra alone, with violin solo. It was the latter version that was played here. Playing the solo part was Dan Skidmore, concertmaster of the Salisbury Symphony. The music is exquisitely sweet and tender, and Dr. Skidmore’s playing brought it to life even more.

German by birth, George Frideric Handel (1685-1759) lived most of his life in England and considered himself English. “Entrance of the Queen of Sheba,” from the oratorio “Solomon,” is a processional march featuring two oboes and orchestra. The oboe parts were ably played by Anna Lampidis Glantz and Kimberly Tyler.

Known best for his orchestral work “The Planets,” Gustav Holst (1874-1934) composed in a wide range of genres. “Invocation,” for cello and orchestra, was an early work that was suppressed for nearly 60 years after its original performances. It opens with a solo cello line, played gorgeously by principal cellist Anne Selitti. It then continues in its quiet and atmospheric mood, playing various single instruments against each other and the solo cello, with shimmering combinations and great effects. Ms. Selitti gave an intense and beautiful performance, showing that the music really mattered.

Closing the first half of the concert was Orb and Sceptre Coronation March by William Walton (1902-1983). Written for the coronation of Queen Elizabeth II in 1953, it includes some jazzy elements, in addition to the stately regal fanfare that would be expected. The orchestra’s performance had more life and élan than I have previously heard in this work.

The entire second half of the program was devoted to “Enigma Variations” by Edward Elgar (1857-1934). The work is a set of 14 variations on a theme, each depicting one of Elgar’s friends. There is another overarching theme, the “enigma,” running over and through all 14 variations, but is never really heard. Elgar never revealed what this theme is, and there have been multiple conjectures made. Enigma or not, this orchestra at this time had sound of a grand, robust Romantic English orchestra, full of lush and beautiful tones and played with great inspiration.

Do stay tuned for Pops at the Post on June 6, and the fabulous 49^th season to come.