BEETHOVEN SYMPHONY NO.5
“What Laycock delivered was a performance of such intense vitality, of such romantic breadth that one had to rub the eyes to make sure it wasn’t the shade of Gustav Mahler on the podium. If ever there was a performance that justified every extra-musical burden placed on the music, this was it: shaking fists, striding heroes, tragedy and triumph, no holds barred…Laycock’s conception included tempo stretching at crucial cadences and climaxes of shattering enormity. It was indeed like Mahler with fewer players. The transition to the finale was eerie.”
Newark Star Ledger
“People had to be turned away at the doors for the concert…patrons had to be seated in the aisles and even on the stage. By the end of the night, audience members were on their feet for a two-minute standing ovation…The familiar opening notes of Beethoven’s Fifth Symphony unfurled in the second half of the concert. As those notes wash over an audience, they can draw out powerful emotions. The motif is an unrelenting echo in its variations throughout the symphony. Yet it is also so exciting, you lean into it to hear and feel more. The symphony was passionately delivered by the orchestra, as they traveled the music’s emotional pilgrimage through dark forests, sweet sunlit patches, and marvelous peaks.”
London Free Press
BEETHOVEN SYMPHONY NO.9 “Choral”
“The Beethoven Ninth Symphony is one of the music world’s supreme masterpieces…on Sunday afternoon, the “Choral” Symphony was played and sung in stunning fashion, providing an opportunity for those in the capacity audience to hear the work in all its grandeur, yet with all of the composer’s small touches of genius laid out in often breathtaking clarity. This Beethoven Ninth was very possibly the foremost achievement of Mark Laycock during his tenure as the Symphony’s music director. Laycock conducted the symphony in a way that reflected long hours of preparation. It was a triumph for the conductor, as well as a cause for pride among his forces, who responded to his baton with obvious deep involvement…The performance revealed some fascinating aspects of the first three movements, and in the short segment which the composer interjected into the chorus’ long hymn to joy. The Symphony’s playing was brisk, transparent. And its crescendo that closed the work brought the audience to its feet with a prolonged roar of approval. …there were people outside before the concert pleading with arrivals for any spare tickets they might have…The Westminster Choir was superb, and the American Boychoir increased the size of the chorus to 180, amplifying in noticeably beautiful fashion the sound of Westminster’s soprano section…The Westminster Symphonic Choir and the American Boychoir will perform the Beethoven Ninth Symphony with the New York Philharmonic under Kurt Masur’s direction later in the season. Impressive as that concert undoubtedly will be, it is safe to say it will not have the kind of impact that Sunday’s in Princeton created.”
Trenton Times
BEETHOVEN SYMPHONY NO.2
“The Beethoven Second Symphony…generally felt, smelled and tasted like the real thing. Laycock does not hesitate tin choosing tempo, and makes firm, easy-to-follow musical elections. He is no wimp…”
Newark Star Ledger
“The final work was Beethoven’s 2nd Symphony. Too often treated as a lightweight piece, it is ingenious, astonishing and bursting with both explosive energy and lyricism. Full of sudden changes in tempo, dynamics and phrasing, it demands utmost precision of attack, ensemble and solo playing. It received all of these here. One of many notable aspects of the Beethoven performance was the first movement coda. Because this is not overtly dramatic music, few conductors have managed to produce a real spine-tingling ending to this movement. Maestro Laycock and the PSO players did, adding even more to a rewarding concert.”
The Princeton Packet
BEETHOVEN SYMPHONY NO.6 “Pastoral”
“The first movement was expansive but leisurely with a cheerful lilt and many suggestions of folk melodies. The Andante managed to be lyrical and intimate without becoming aloof, and the third movement bounced us back to the buoyancy of country life with a strong use of dance rhythms. The Allegro, suggesting a sudden thunderstorm, brings in a torrent of counter melodies, doubled rhythms, and a particularly busy string section. The final movement acts as a serene benediction after the storm, with a placid legato that ends in peaceful chords. Mr. Laycock’s reading of the 6th seems original and fresh, not the sometimes overwrought interpretations one hears when the score is treated like the background to an adventure film rather than a musical entity in itself. He enjoys an enviable string section, responsive and accurate. It is a pleasure to watch Laycock’s disciplined troops…there is never a bored look or wandering eye, only intensity, attentiveness, and the occasional quick encouraging smile at a colleague.”
Trenton Times
BEETHOVEN SYMPHONY NO.7
“…the [Seventh] symphony made the strongest impression, though the other works on the program had many wonderful moments as well. Laycock’s vigor on the podium clearly lends itself to the Beethoven Seventh, the sprightly rhythms of which drive the music relentlessly to one gigantic climax after another. The third movement’s tempos were always presto to the max, and the accent-filled music always sounded nimble and light. The allgro finale, too, moved with alacrity, but Laycock’s firm grip never let it spin out of control.”
Newark Star Ledger
“By far the most thrilling part of the concert was the performance of the Symphony No.7. The orchestra played with a wonderful level of intensity and emotion throughout, sustained partly by the surprisingly brief pauses between the movements. The first movement was faultless…the cellos and basses got the second movement off to a dramatic start, whispering the first statement of the theme with delicate expression. Listening to the orchestra’s interpretation of this movement, I was for the first time actually convinced that it works at a quicker, brighter gait just as well as at a slower, more stately pace. The orchestra emphasized to nice effect the contrast between scherzo and trio in the third movement, and Mr. Laycock nicely controlled the transitions back and forth between the sections, making especially hypnotic the calm passage that precedes each return of the scherzo. The fourth movement called for strong syncopations and a carefree pouring out of energy. The orchestra responded with exuberance, producing and splendid coda.”
Princeton Town Topics
BRAHMS SYMPHONY NO.1
“Laycock, conducting without a score, drove through the first movement at an aggressive but varied pace that gained momentum soon after the dramatic impact of the opening bars. In his sanguine approach to the music, he managed to wring the most out of the composer’s seemingly inexhaustible skills.”
London Free Press
“Whether programmatic or absolute, German romantic music can deliver a powerful impact, as evidenced in the Northwest Indiana Symphony’s “Music of the Masters” program Thursday evening…Brahms’ Symphony No.1 relies entirely on musical elements to achieve passion, tension, and real uplifting of the spirit. Comfortable with Brahms’ distinctive rhythms and changes of pace overall, Laycock clarity of textures, singing melodies, and achieved good dramatic values without pressing too hard, managing a perfectly timed acceleration into a goosebump finish that prompted a standing ovation.”
The Times
BERG VIOLIN CONCERTO
“Laycock crafted a potent and, in the end, deeply moving account of this much misunderstood work. The reverent canonical opening quickened nicely into the snatches of tunes that make up the first movement. Laycock kept a subtle balance among the various lines as they became more fevered and tumultuous, his pulse all the more steady for not being obvious.”
Newark Star Ledger
“Chantal Juillet and the Symphony seemed to share a common conception of the piece. They created breathless intensity at appropriate moments, and they never seemed to labor to stay together – even during rhythmically complex passages. The balance between solo and orchestra was good throughout.”
Princeton Town Topics
“What emerged was a deeply poetic Berg Concerto, [with] the final passage to resignation and entrance to heaven like looking back on the living with a kind of sorrow that transcends the earthly…Mark Laycock uncovered as many of the elements of pre-12 tone music as possible. Leading tone relationships were brought out, long counter melodies were allowed to sing in the same way that Mahler used them. All of Berg’s calculatedly folk-related ideas emerged warmly…The orchestra out-did itself in this often angular score which is at first difficult for the musicians to hear. What could have remained as abstract note patterns were turned into expressive shapes.”
Classical New Jersey
“The language of Berg is terse, direct, and atonal…The orchestra played this masterpiece superbly to demonstrate once again the versatility demanded of it by music director Mark Laycock. Canadian violinist Chantal Juillet performed the dauntingly difficult Berg Concerto superbly, displaying a virtuosity that many of us will not soon forget. This is not an easy piece to digest. But with concentration, the listener is rewarded with an expanded appreciation of “modern” music.”
London Free Press
BERG THREE PIECES FROM THE LYRIC SUITE
“under Mark Laycock’s gentle exegesis the story [of the Lyric Suite] was presented to the audience and various themes explained one by one. The opening movement is a loving representation of the woman and her children, with an ominous subtext entering at the end. The second movement is a series of whispers and asides, reaching a quiet but intense climax and then replaying all the introductory material backwards as if to distance oneself from the event. The third movement, its harmonies based on pitches assigned to the lovers’ intertwined initials, is all sorrow, guilt, and loss. The performance itself was stunning. Laycock’s approach to the score was admirably clear-eyed, with an uncluttered and lucid sense of line. The strings played with fine balance, their tone light but expressive. The second movement in particular positively tingled with excitement.”
Newark Star Ledger
BERNSTEIN SYMPHONY NO.1 “Jeremiah”
“Bernstein’s music asks for a lot, and Mr. Laycock and the Symphony met the challenge admirably…the depth of interpretive skills Laycock possesses became evident. Whether it was in moments of intensity of in soaring lyrical lines, he led with energy, passion, and a clear idea of where the music was going.It was a most moving performance of a great American work.”
Classical New Jersey
KLUSAK VARIATIONS ON A THEME BY MAHLER
“[the work] is very well crafted, and conductor Mark Laycock certainly was engaged by the piece, sculpting its contours with great care.” Classical New Jersey “Employing a large orchestra, the work has a number of arresting sonoroties and effects. Far from easy to play, it was here made to sound effortless.”
The Princeton Packet
MAHLER Adagietto from Sym. No.5
“exquisite performance”
Classical New Jersey
“Alternatingly tender and ardent, it here received a glowing performance, shaped so well that one wished it to keep going longer. (Other performances that do run longer rarely, if ever, hold together this well.) The orchestra – strings and harp alone – provided both transparent and sumptuous sound.”
The Princeton Packet
MAHLER SYMPHONY NO.4
“…They came to hear the Princeton Symphony play Mahler’s Fourth Symphony Sunday afternoon in a performance that must be rated a solid success, one impressively conducted by Laycock, sans score…One was left with the tremendous memories of a muscular first movement, plangent violin solos in the second, and a profoundly evocative third.”
Newark Star Ledger
“…an outstanding concert…Laycock and the orchestra were suitably passionate and fierce in their interpretation and execution, maneuvering between the different sections, the contrasts in tempo, and a number of transitional passages – not at all a trivial accomplishment for a full orchestra…the third movement was beautifully resonant and luxurious, capturing a depth of emotion rarely experienced…Laycock, conducting from memory, ably brought Mahler’s work full circle, from the cheerfulness of the first movement through the struggle and distress of the middle movements, back to the lustrous optimism of the finale.”
Princeton Town Topics
MENDELSSOHN SYMPHONY NO.4 “Italian”
“After intermission, the orchestra played Mendelssohn’s “Italian” Symphony. Laycock gave the work a refreshing interpretation, and the marvelous musicians of the orchestra responded with some of the finest most cohesive playing this listener has heard yet from this ensemble. The audience obviously was equally delighted, for there was a spontaneous roar of approval at the finish.”
Trenton Times
“The orchestra rounded out the program with a joyous performance of Mendelssohn’s deceptively easy-sounding Symphony No.4 (“Italian”). Especially impressive were the strings in the finale, who were able to switch seamlessly between Mendelsshon’s raging passages and the more delicate ones which come in between.” Classical New Jersey
MENDELSSOHN SYMPHONY N0. 5 “Reformation”
“The orchestra, under Laycock’s strong direction, gave a vibrant performance of the “Reformation” Symphony. The interpretation built powerfully and with notable cohesion from the hushed Dresden Amen of the opening movement through the rhythmic second, the short, ballad-like third, to the climactic full-bodied statement of the chorale at the finish.”
Trenton Times
MENDELSSOHN SYMPHONY N0.2 “Lobgesang”
“It is a titanic composition, more than an hour in length, and worthy of Beethoven in its scope and expressiveness…Laycock conducted with a wonderful clarity of focus, drawing from the orchestra a magisterial, bottom-heavy sound that emphasized the passionate explosiveness of the material and really gave the Princeton Pro Musica something to shout over. The chorus was in fine voice, and Laycock displayed a remarkable facility leading vocal music.”
Newark Star Ledger
MOZART SYMPHONY NO.34
“The Mozart Symphony No.34 was an elegant ending. The simplicity of the writing was enhanced by Laycock’s handling of the orchestra. They were definitely a cohesive group of first-rate caliber, showing control, balance, and a unified approach to the work.”
London Free Press
MOZART SYMPHONY NO.35 “Haffner”
“Mozart’s Haffner Symphony rounded off the concert delightfully. Mr. Laycock and the Symphony took a relatively Romantic approach to the work, with dramatic crescendi and decrescendi, long legato lines when possible, and elongation of some of the pauses between sections. They also sharpened some parts that are not prominent in most recordings the clarity of the second-violin line in the trio of the third movement, for example, added a nice layer of complexity. The Symphony was imbued with energy and exuberance in the first and especially last movements. It was rewarded with a long ovation from the audience.”
Princeton Town Topics
MUSSORGSKY-RAVEL PICTURES AT AN EXHIBITION
“What a Pictures! I’ve heard dozens of Pictures, in Russia and elsewhere, in Ravel’s and Musorgsky’s “versions” – but nothing like today’s performance!…[it was] a tribute to Musorgsky, Ravel, and a splendid orchestra.”
Caryl Emerson, Author, The Life of Musorgsky
“It was here that the superior quality of the individual members of the orchestra stood out with wonderful clarity. The apparently augmented brass section, the woodwinds, the percussion, and the silken strings took turns in capturing the audience’s attention and admiration…All the sections came together in a staggering performance of the closing “The Great Gate of Kiev” segment, which brought the audience to its feet in a roaring expression of approval that went on for several minutes.”
Trenton Times
“A detailed analysis of each section is not possible here, not is it needed – for each picture was characterized to its full potential. The many demanding solos were flawless, the pacing totally satisfying, the final build-up as imposing as one could wish. Bravos resounded.”
The Princeton Packet
BIZET CARMEN
“A tour de force…The familiar opera, presented by Orchestra London in concert version Wednesday night, had it all – wonderful singing, fine playing, taut drama, and gorgeous tunes…The orchestra, its guest artists, adult and children’s choruses, and conductor richly deserve the enthusiastic response they received from the capacity audience. The combined elements of soloists, choirs, and instrumentalists, all working cohesively with conductor Mark Laycock, made the presentation the highlight of the current concert season.”
London Free Press
BIZET-SHCHEDRIN CARMEN SUITE
“…The orchestra played with primal fire…With the large percussion battery supported only by strings, the effect of timpani or bass drum or gong is far stronger than with a full orchestra. The emotions become leaner, their focus narrowed to the essence of each. Laycock had the strings playing with intensity, the fanfares brassy, the whispers of sound barely audible. Behind it all was a drive which, even at its most lyric moments, kept the music moving forward.”
Newark Star Ledger
“The Symphony under Mark Laycock’s direction gave a riveting account of the work. The strings have never sounded richer nor have they blended more beautifully than in this demanding music. This was especially true in Jose’s Flower Song, which was conducted and played with a passion that made the segment sound like something by Tchaikovsky.”
Trenton Times
PÄRT SYMPHONY NO.2
“The least familiar work on the program was Symphony No.2 by Arvo Pärt…The second movement, held together exceptionally well by mucis director Mark Laycock, explored dramatic shifts in volume…The third movement reversed the progress of the first and second movements…the conclusion was magical, and the Symphony deserves great credit for its technical precision and intelligent interpretation.”
Princeton Town Topics
PROKOFIEV SYMPHONY NO.1 “Classical”
“…the orchestra’s presentation was all the more delightful due to Laycock’s interpretation… The result was the most effective reading of the piece I can remember hearing in years.”
London Free Press
ROSSINI: OVERTURE TO WILLIAM TELL
“If ever a work could be described as a “chestnut”, this is it. But the Princeton Symphony’s performance showed that the Overture is a first-rate piece of music. The work’s opening measures, played by the cellos with warmth and richness, set the tone for a rendition that, judging by the ovation at the finish, made many listeners wonder why anyone ever turned up a nose at the piece. The performance was successful, in great part, because Laycock treated it with obvious respect and affection. Rossini’s melodies were especially caressing and his crescendos had an excitement that I have rarely heard.”
Trenton Times
SCHUBERT SYMPHONY NO.2
“The Schubert Second Symphony was a thorough delight. The orchestra played it with an infectious rhythmic pace that brought the audience to its feet with a prolonged ovation at the finish.”
The Trenton Times
SCHUMANN SYMPHONY NO.1
“…fresh, spontaneous, Romantic…Laycock and the orchestra produced a symphony filled with majesty and energy.”
London Free Press
SCHUMANN SYMPHONY NO.2
“…This clarity [of texture] was delightfully evident also in the other major work on the program, the Symphony No.2 of Robert Schumann. Laycock set some remarkably spirited tempos in this song-filled piece in the second movement scherzo, for example, the pace was so swift that at least one listener held his breath wondering whether the musicians were going to make the final crescendo in one piece. They did, and it was a stirring moment. The piece, of course, boasts other music that is just as appealing, and the gorgeous, soulful third-movement Adagio and the exuberance of the final Allegro made for most satisfying listening.”
Trenton Times
SHOSTAKOVICH SYMPHONY NO.9
“…Laycock makes clear with every composition, with every phrase, that his heart is in the music, that he is not playing it because it is fashionable of that some parts of his audience demand it…The Shostakovich Ninth Symphony had to be most revealing for audience members who may have dismissed it as not meriting inclusion in the “great works” category. They may well have changed their minds after hearing the Symphony’s exposition of the five-movement work.”
Trenton Times
SIBELIUS SYMPHONY NO.1
“After intermission, the Symphony gave a moving performance of Sibelius’ Symphony No.1…the fourth movement, with its intense slow opening and lush second theme, rounded out a superb performance that garnered numerous “Bravos” from the audience.”
Princeton Town Topics
Symphony No. 1 was marked by great precision which in turn allowed the work’s romanticism to stand out in sharp focus…Laycock took the unusual approach of allowing each episode to have its own life and make an obvious conclusion before moving on…unlike most conductors who do their best to bind the unruly piece together, Laycock often let the piece develop its scenic, even cinematic quality, cutting from one piece to the next…the piece is a rouser, and the audience responded as they should have to such a fine performance.”
Classical New Jersey
“Here the musical understanding and conducting skill that shaped the Mahler so well were applied on a larger scale. In this performance [of the Sibelius Sym. No.1], difficulties were overcome as thought they did not exist. Each movement was fully coherent and forward-flowing, never episodic. Instrumental balances – far from obvious – were just right. The emotional peaks were conveyed with deep feeling, but were not overblown. It was a performance of great communicative power, depth and nobility, met at the end with well deserved bravos.”
The Princeton Packet
SIBELIUS SYMPHONY NO.3
“Laycock certainly made the case [for Sibelius’ Symphony No.3] to the Princeton community…Laycock understood the breadth of the music, allowing it its proper scope. Sonorities built it to shattering proportions.”
Newark Star Ledger
SIBELIUS SYMPHONY NO.5
“…enthusiastic applause for Orchestra London’s muscular treatment of Sibelius’ Fifth Symphony…[the orchestra] performed the music in majestic fashion as waves of sound swept one upon the next in a flood of dramatic intensity…In Maestro Laycock’s approach, the orchestra achieved a tremendous sense of forward propulsion which developed into a finale of epic proportions.”
London Free Press
SIBELIUS SYMPHONY NO.6
“Some concert-goers tend to be standoffish with respect to the music of Sibelius, as they regard it as cold like the composer’s native Finland. But there is nothing chilly about his Symphony No.6, and the Princeton Symphony made it seem almost tropical with its lively reading of the work. Beginning with the gentle melody played by the bubbly strings in the first movement, the symphony had a sweep and energy that caught up the listener throughout, especially in the crescendos near the finale. I don’t think I have ever seen Laycock more passionately involved with a performance, as he produced equal fire and precision in the playing of his musicians.”
Trenton Times
“The Symphony concluded the concert with a very fine performance of Sibelius’ relatively little-known Symphony No. 6. A well-proportioned, tranquil work, the symphony is less a discourse in melody and form than it is a series of beautiful moments, where harmony and instrumental color combine in enchanting ways. The Symphony responded well to Sibelius’ call for relaxed, evocative tableaux. The unhurried opening of the first movement, with its pure, widely spaced harmonies, hung delicately in the air. Even when the music shivered in the second movement, danced in the third, and drove hard toward the climax in the fourth, the Symphony did not lose sight of the cool center, the unflappable core. When the opening music returned at the very end of the work, it sounded inevitable: conductor Mark Laycock and the orchestra had gracefully maintained Sibelius’ vision.”
Princeton Town Topics
STRAUSS SUITE FROM DER ROSENKAVALIER
“Laycock’s performace summoned not only an impressive surface sound, but also the thread of tension that holds the piece together…it was a big, rich, glorious celebration of the orchestra, both as an operatic cast of characters and a single orchestral “instrument”. After 15 years as music director, Mark Laycock knows his instrument well, and its increased size and scope Sunday did little to inhibit its flexibility.”
Newark Star Ledger
“The suite [from Der Rosenkavalier] was played sumptuously and with utmost delicacy in turn, with perfectly chosen tempos and Viennese lilt. Even when the sound was most sonorous it was wonderfully transparent, and certainly attests to the discerning ear of Maestro Mark Laycock.”
The Princeton Packet
STRAUSS DON QUIXOTE
“Conductor Mark Laycock wisely preceded the 43-minute work by describing and having the orchestra play the principal themes and some of the special effects, such as flutter-tonguing in the brass and woodwinds to simulate the bleating of sheep. Laycock emphasized clarity of complex textures, singing melodies and achieved good dramatic values without pressing too hard. The solo cellist was blended well with the orchestra.”
The Times
STRAVINSKY PULCINELLA SUITE
“Led by Mark Laycock, the Symphony presented a lushly beautiful rendering of Stravinsky’s Pulcinella Suite…Laycock guided the orchestra deftly, emphasizing Stravinsky’s signature phrase patterns…Stravinsky’s melodies soared in the hands of the orchestra’s capable string and wind sections.”
Classical New Jersey
VAUGHAN WILLIAMS SYMPHONY NO.5
“Vaughan Williams Fifth Symphony was powerful and impressive… a juggernaut of power and serenity. The Symphony did its share to create many beautiful moments throughout the work, including the pianissimo opening and closing of the third movement, several lovely melodies in various movements, and the climactic passages in the first and fourth movements. The work showed again that the Symphony can master big, forceful works composed for large orchestras as well as smaller, more intimate works intended for chamber orchestras.”
Princeton Town Topics
VERDI REQUIEM
“The Princeton Symphony Orchestra’s presentation of Verdi’s Requiem in two performances over the weekend was a powerful, gloriously operatic interpretation of this choral masterpiece. Four superb vocal soloists and the 150-voice Mendelssohn Club of Philadelphia combined to give this version of the Requiem the kind of impact one might expect from an outstanding performance of one of the composer’s greatest operas. For that we can thank PSO music director Mark Laycock, who obviously worked long and hard making sure he head the personnel to do justice to the Requiem and then shaping his forces to achieve that end.”
Trenton Times
“The sense of self-assurance and belief in one’s personal integrity and approach to life as a source of spiritual inspiration and strength were the elements Laycock and performers chose for interpretive focus, creating a musical experience that left listeners moved and thoughtful…In the midst of the sublime performance that was progressing, the fearful force felt impotent, totally spent, unable even to minutely disturb the resolute strength gripping music, performers and audience. For the first time, I left a performance of Verdi’s Requiem with a sense of personal serenity and held on to those final strains for the entire drive home…Orchestra and chorus were superb, in fact, flawless…Laycock displayed a solid understanding of the music’s flow. His conducting maintained an interpretation that was positive rather than fearful, inspiring rather than humbling.”
Classical New Jersey
“Last Sunday I heard the Verdi Requiem performed by the Princeton Symphony Orchestra…the effect was both immense and magical. It was an experience to savor and to cherish forever…The performance was musically excellent, and the orchestra managed to keep up with its maestro, Mark Laycock, who was passionate about what he was doing and brought that fervor to every performer…this is one day I’ll never forget.”
Asbury Park Press