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