WEDNESDAY evening's momentous concert made an auspicious beginning to the Elgar Festival as William Boughton, conducting the English Symphony Orchestra, presented a stirring performance of Overture Cockaigne (in London Town) Op.40.

Monica Groop was the mezzo-soprano soloist for Sea Pictures Op.37. Her voice of rich hues was ideal for this work with its extensive range.

In Sabbath Morning at Sea, her words were expressed clearly and climaxes were built and momentum was altered to suit. Her conservation of energy was admirable through The Swimmer, and she kept her glorious top A for the final repetition.

The ESO's accompaniment was sympathetic, allowing the soloist space. Of note was the orchestra's effective 'throbbing' during Sea Slumber Song, woodwind inserts and a harp in Where Corals Lie and impre-ssive brass in The Swimmer.

Elgar's sense of nobility was the essence as Symphony No.1 in A flat, Op.55 began with woodwind and violas in unison stating the majestic main theme, restrained at first against detached low strings.

Initial impetus of the second movement Allegro molto was very fast and quiet but soon embraced rigorous marching tempi.

The most thrilling part came as a single note strand poised itself wonderfully and led into the third movement Adagio.

It is impossible to put into words the beauty the ESO imbued into the poetic, soul-searching melody; the strings were magnificent, as were the woodwind musicians who inserted fragments of obligato.

The finale Lento-Allegro was vibrant and precise, the first theme reappeared brilliantly, and the symphony ended in unstoppable power.

Jill Hopkins