Daily Archives: 19 May, 2013

Wagner, Schumann & Beethoven at the Congress Theatre

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London Philharmonic Orchestra, 19 May 2013

Two young men set this concert ablaze – conductor Nicholas Collon and pianist Benjamin Grosvenor. They came together in Schumann’s piano concerto, the light touch giving an improvisatory feel to the opening movement, though it romped to a close before a warmly indulgent Intermezzo. The finale found many moments of repose to offset the passion of the main theme and the intense rapport between soloist and orchestra. Benjamin Grosvenor delighted us with an encore – a gentle piece of Schumann, in fine contrast to the concerto, delicately played.

Before this we had heard the prelude to Act One of Die Meistersinger von Nurnberg. The orchestra are no strangers to this score having played it so magnificently at Glyndebourne in 2011, but it seemed even fresher on this occasion, the counterpoint sparkling and the brass fanfares truly alive.

Siegfried Idyll was an unexpected extra, given the potential length of the programme, but none the less welcome, allowing Nicholas Collon to demonstrate his sensitivity to the nuances of the scoring and the gentle inner voices.

The afternoon concluded with Beethoven’s Fifth Symphony. This may be a popular choice where programming is concerned but I was surprised at how rarely I have covered a live performance in the last few years. What impressed more than anything was the clarity of the sound Nicholas Collon drew from his players. From almost inaudible ppps to the blazing rasp of the brass this was a remarkably fine performance. The opening movement had real bite without being over fast, while the moody silences of the second movement were atmospherically charged. There was little sense of dwarves in procession from the jaunty opening of the third movement but the build into the unleashing of the final movement was stunning. Moreover, the repeat in the final movement – so often cut – was here even more impressive for the tiny adjustment to the rhythm as it unfolded. Masterly! As had been the whole afternoon. We will be watching Nicholas Collon’s future with great interest, and not only because his hair reminds us of the young Simon Rattle! BH

Bach; Mass in B Minor

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Bach’s Mass in B minor is rather like Mount Everest. There comes a time when a choral society needs to make the attempt regardless of the cost. For Battle Choral Society there was much to commend. The soloists were well balanced and individual solo items impressed throughout. Gary Marriott’s Benedictus qui venit, and Louise Winter’s Agnus Dei were particularly effective. The orchestral playing was frequently delightful. The oboes in Et in spiritum sanctum were mellifluous throughout.

Rachel Firmager’s cello continuo was a highlight of the evening for me. Not only was her playing of great beauty but she frequently held the tempi together at times when other parts of the ensemble were not as precise.

The acoustic in Christ Church does not help mass choral singing, which needs to be particularly precise if it is to bite. While individual sections of the choir could make a vibrant impact – the basses often forcefully so, and the sopranos holding the top line with ease – the overall sound was often confused and at times muddy. Entries were frequently missed and Bach’s crisp counter-point was lost. Part of the problem may have been the tempi set by John Langridge, which for most of the time was slow, making it difficult to feel the rhythms which are dance-like and need that level of enthusiasm to ring out.

The great setting of Dona nobis pacem rolled towards its climax on a wave of fine playing from the orchestra and a choir giving their all. BH

Tippett & Brahms

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BBC Symphony Orchestra, Barbican Hall, 17 May 2013

This proved to be an exciting evening, opening with a new commission by Jonathan Lloyd. new balls for wind ensemble is in many ways a companion piece to old racket for strings which was premiered last month. Distinctly tongue in cheek for much of the time – there is a false ending forcing us to applaud while the work actually continues – it opens soulfully and often seems disjointed, with phrases dying out or being drowned out by other instruments. At one point the solo flautist stands for what one expects to be a highlighted solo line, only to be overtaken to the point where he is inaudible. However the work eventually builds to a strong climax and we know we have reached the end.

Stephen Hough was the soloist in Brahms’ second piano concerto, in a bright extrovert reading. James Gaffigan had conducted Brahms’ Fourth Symphony in Brighton the previous Tuesday and brought the same level of immediacy and authority to this performance. The second movement was fast, almost furious at times, even in the more reflective string melody. The cello phrasing in the third movement was superb and the final movement brought sprightly, snappy rhythms from all involved. Throughout, Stephen Hough had found a joyous enthusiasm combined with lyrical finesse.

Tippett’s first symphony proved to be equally enthusiastic, the density of the writing pre-echoing A Midsummer Marriage (which I am glad to note will be performed at the Proms this summer). If he had abandoned an earlier symphony as being too Sibelian there was no doubting that this was pure Tippett, particularly the writing for strings in the opening movement, and the wind ensembles. Low strings in unison open the second movement creating an uneasy tension which is taken up by flute choirs and muted trumpets. After moments of introspection and doubt the movement suddenly flowers before dying away.

There are overtones of the Ritual Dances in the sparky Presto which exults it its lyricism before the overt enthusiasm of the final Allegro moderato with its elusive ending. The symphony is such a fine piece without the potential difficulties of the later symphonies; it is a surprise it is not heard more often. BH