Forest Article

ARTICLE ON FOREST OF DREAMS FOR WELSH MUSIC
by Christina Schaetz
“FABULOUS” FOREST OF DREAMS
World Premiere of Christopher Painter's new work in Germany
The stage had been set, the press and public informed. The Thüringen
Philharmonic Orchestra was to present the world première of a work by a
composer from Wales.
Maps were got out, to find exactly where Wales lies and the Chief Conductor of the
orchestra, Alun Francis, was asked about the new work and its Port Talbot born,
Cardiff based composer, Christopher Painter. Francis explained that, as part of his
lifelong commitment to living composers, for which he has received many awards,
he decided to study the music of living Welsh composers and, as a start, decided to
invite Painter, who he had met briefly some years earlier, to compose a new work
for the orchestra.
“Wales has a number of very talented living composers who receive minimum
recognition in our country” explained Troedyrhiw born Francis in impeccable
German, “and if my own country won’t do enough for them, then people like me
should”.

Two weeks before the rehearsals and première the music had not arrived, causing
consternation amongst the musicians of the Thüringen Philharmonic, highly
regarded as one of Germany’s most disciplined and well trained orchestras under
Francis’s leadership.
The music did arrive some six days prior to the first rehearsal and Francis was soon
able to play the whole work from memory on the piano and to go through the work
with the orchestra for the first time.
Christopher Painter and his wife Diana arrived for the second rehearsal and he was
very warmly received by the orchestra who, with their experience in new music,
were well able to judge the works’ obvious qualities.
After the first rehearsal with the composer, Painter and Francis retired to the first
of several press conferences at which the composer was able to enlighten a very
curious press. “The work is not programmatic” insisted Painter. “It is a work of
colours, whispers, strange sounds and unfocused images. Nothing is outspoken but
the mystique of the forest, with all its secrets, lies behind the inspiration.”
After the press conference Painter and Francis discussed minor changes to the
score; a slight change in orchestration here, a change of dynamics there, etc.
Many of the orchestra had wondered how the modest and cordial Painter would get
along with the more austere, disciplined Francis, but their working relationship
was sealed from the start.
“He is a consummate professional” remarked Francis, “that is the only thing that
counts for me”.
The next day saw the second rehearsal with the composer standing behind the
conductor, at which the minor changes were given to the orchestra. After that,
came the second press conference, by which time Painter was somewhat awed by
his growing celebrity status.
“Enjoy it” growled Francis “I’ve seen lesser composers thrown to the wolves”.
On the third day the orchestra went to the City of Suhl, where the first concert
was to be given and Painter was able to hear his work for the first time in the
concert hall and to make any adjustments he wished.
That evening the world première of “Forest of Dreams” took place to a sold out
hall.
“Fabulous Forest of Dreams” was the title of one of the reviews, “A work of great
imagination, combining wonderful colours with a formidable intellect” extolled
another critic.
I (the author) was given the job of translating for the composer, and at the
intermission the public, old and young, came in droves to speak to Painter and to
ask him for his autograph.
He was clearly moved by the overwhelming response of both the public and the
orchestra.

At the premiere he took four bows and accepted a huge ovation.
In the local pub after the concert, Francis declared himself dissatisfied with three
details of the work and the next evening in the City of Gotha, where the next
performance was to take place, he worked yet again to perfect these points.
All in all that amounted to five rehearsals (four in the presence of the composer),
which Painter wryly remarked would be “unusual” in the U.K.
At the second performance which was also sold out Painter was called to the
platform five times and the work was again received by a hugely appreciative
public and press.
After the concert many of the orchestral players together with Francis and his wife
Bernadette took Christopher and Diana Painter to the local, to celebrate the
success of an unusually gifted and modest composer, as well as the introduction of
Welsh contemporary music to Germany.
“Now that I know this excellent work from memory” remarked Francis, who is not
famous for his compliments, “I will perform it several times in the coming seasons
in different countries as well as other new Welsh works. I can only hope that my
countrymen take note and that they are interested!”
Christina Schaetz
Thüringen Philharmonic Orchestra