The Bournemouth Symphony Orchestra presented a thoughtfully curated concert at the Lighthouse in Poole, exploring thematic connections among English composers and their relationships to folk music. The programme highlighted compositions from different generations, starting with Ralph Vaughan Williams’s wistfully modal "The Lark Ascending," followed by Michael Tippett’s "Concerto for Double String Orchestra," and concluding with Thomas Adès’s "Märchentänze," which reimagines British folk tunes through intricate and fanciful variations.

A prominent motif throughout the evening was the presence of birds in the music. This theme was introduced by the Adès, which features a movement evoking skylarks with overlapping violin parts, building on the imagery suggested by Vaughan Williams’s piece. The concert closed with Sibelius’s Fifth Symphony, noted for its majestic portrayal of a flock of 16 migrating swans. These selections were also linked by their historical context: Vaughan Williams and Sibelius composed their works at the outset of the First World War, while Tippett wrote his piece during the Second World War and was incarcerated as a conscientious objector at the time of its premiere.

The programme combined widely popular and familiar works alongside less frequently performed repertoire, reflecting the orchestra’s approach to balancing audience appeal with artistic exploration. This included Vaughan Williams’s "The Lark Ascending," often cited as a defining British classical piece, alongside Tippett and Adès, whose music offers different, challenging interpretations of folk material.

In terms of performance, violinist Anthony Marwood’s interpretation showed both strengths and challenges. While his rendition of the demanding high passages at the conclusion of "The Lark Ascending" met some difficulty, his tone was described as lean and atmospheric during the Adès, where his playing contributed to a subtly eerie and surreal sound world. Conductor Mark Wigglesworth was praised for his control over the Sibelius, skillfully shaping the symphony’s gradual thematic development into powerful climaxes. However, the acoustic qualities of the Lighthouse were noted as a limitation, with a brightness that made it difficult to fully blend orchestral timbres and evoke the intended misty landscapes. The Bournemouth strings were commended for their performance of Tippett’s work, achieving an effective balance between its sharp rhythmic contrasts and lyrical passages.

Overall, the concert was recognized for its thoughtful concept and generally successful execution, offering audiences a cohesive narrative linking musical, thematic, and historical elements across the programme.