Hearing the NDS playing Dvorak’s New World Symphony so stirringly, it’s not surprising that this has always been one of the best loved symphonies of all time. With such a wide range of emotions, from dream to exuberant declaration, superb orchestral colours, that lovely Hovis tune (forgive me) which never fails to move, its sheer musicality, span and size – here is a symphony we can all enjoy. And in this most enjoyable NDS concert, all this – and more – was on display.

Once again, it’s a pleasure to praise the sturdy NDS brass. Robust passages came over splendidly, but this excellent programme choice gave several occasions to demonstrate subtle teamwork, exemplified by the horn section (not to mention magnificent solos later, from John Ashton’s tuba). Of course, Dvorak’s No. 9 offers many opportunities for various solos. From that fearfully exposed Cor Anglais tune to a variety of other moments mainly involving the woodwind – all were well presented, with admirable intonation, balance and phrasing. Mendelssohn’s overture to a Midsummer Night’s Dream too showed the various sections off to their best. Fine wind playing was certainly in evidence (notably the flutes) and the confidence with which the strings managed to negotiate some of those fairy fly pasts successfully ensured this dream never turned into nightmare.

There was some dreaming too in the second item. I never knew Barnstaple Fair had so much going on in it: perhaps a scrap or two, but hardly the transcendent dream that Nigel Brooks gave us in his wonderful Barnstaple Fair Ballet Suite. All human life is here, from rough and tumble through to gentle reflections on love and loss, with a few fairground freaks thrown in. It might be asked why this terrific Suite – in which Copland briefly swings by, we’re washed over by a bit of Petrushka (well, that was at a Fair too), treated to a smattering of Bernstein and sprinkle of pepper from Prokofiev – hasn’t been previously performed in its home town. The Barnstaple audience seized it as its own, instantly loving it. How delightful that a substantial piece from a living composer – and how nice to have him present – should find such an immediate welcome! One response to the above question, is that technically this is formidable music, not for the faint-hearted.

That the NDS pulled it off, is entirely due to their valiant conductor. The redoubtable Emma Kent merits special acknowledgement. Any conductor would have been challenged by Brooks’ rapid and sometimes unpredictable time signature changes, but these were all taken in her stride as she valiantly led her players through some pretty ferocious hurly-burly episodes in that fair, when it would have been only too easy to fall over. Perhaps less obvious is the sensitive attention to detail and loving care that she can bring to bear at certain crucial times. Just two examples: those all-important opening and closing four chords of the Mendelssohn which were beautifully presented with a perfect poise, and the heart wrenching moment in the Dvorak when the solo strings’ version of that tune is broken, to hang timelessly and poignantly.

A marvellous concert then, with distinction evident from the conductor and leader through to every department – I meant to mention crisp work from the percussion, including some impressive xylophone playing – which gave much pleasure, and – thank you Nigel Brooks, as well as NDS – much pride in where we live, as a place for inspiration and the creation of first rate music.