91Èȱ¬

I have an overwhelming sense of despair as I try to avoid looking at all the music piled up on/beside/under/around my music stand at the minute. Over the coming weeks, there are an awful lot of dots to get securely under the fingers, and time seems to be slipping away very quickly. is almost upon us, which always means a virtual torrent of notes to be learnt and Messrs Hindemith, Strauss, and Debussy are waiting in the wings for their turns.

This week's concert in Swansea's Brangwyn Hall, entitled Youthful Genius, has a number of interesting features. Firstly, in the Brahms Serenade No 2, we violas will once again prove that we are perfectly capable of coping without the violins telling us what to do. Scored for a standard orchestra, minus violins and brass (although the horns are included), it is, in some ways, an odd work. However, although it includes a movement that may possibly give the entire viola section tendonitis (see if you can spot which movement it is), the musical language is very typically Brahms. I am quite a fan of Brahms generally.

My second interesting fact about this week's programme is that two of the works were composed by two of our most loved composers when they were only young whippersnappers.

Strauss was only 18 when he composed his first horn concerto, probably for his famous horn playing father. Shostakovich was only 19 when he composed his first symphony as his graduation piece from the Leningrad Conservatory.

I find the youth of the composers at the time of these works composition quite incredible, especially with regard to the Shostakovich. All the hallmarks of his later style and musical language are already apparent in this early symphony. It is really very dark in places.

There is one bit of passage work in the second movement of the Shostakovich that I have been struggling a little with. I feel that unless I concentrate 200%, and refrain from blinking for its duration, I am in danger of either getting the bowing right (it involves a lot of up bows in funny places), or getting the notes right (it just doesn't 'lie' nicely), but not both. I will just keep practising it calmly with my metronome until it is secure!

The third interesting feature of this concert is our guest conductor, Giancarlo Guerrero. Now the orchestra's website describes him as a 'dynamic Costa Rican' conductor, but I think that is perhaps something of an understatement. He has such enthusiasm and passion for the music that he almost sweeps you along with him.

In rehearsals today, I genuinely forgot about all the notes I had to learn, I stopped stressing about that annoying bit in the Shostakovich and I really enjoyed making music in the Brahms. To me, that is a sign of a good conductor - someone who can make you leave your cares at the studio door, and enjoy making music.

The 91Èȱ¬ National Orchestra of Wales performs at Swansea's Brangwyn Hall tomorrow (Friday 27 April), starting at 7.30pm. Tickets are available by calling the Grand Theatre Box Office on 01792 475715, or from the door.