Mote Hall, Maidstone, 16 May 2015

Shostakovich’s Leningrad symphony is a challenge for the most professional of orchestras and it was a fitting tribute to a fine season that Maidstone Symphony Orchestra was able to field so many musicians with such a high level of professionalism – let alone the six percussion players exposed across the back like a revolutionary firing line.

Brian Wright created a secure sense of ensemble even when the score was at its most dynamic, not to say bombastic, allowing the changes of mood to flow with ease while maintaining the dramatic tension which underpins the whole score. Even the more reflective moments – with some splendid solo playing from the woodwind – are held in check by the sense of the fight to come. There was a dance-like quality to the opening of the second movement, which can easily become plaintive rather than supportive, and the rustic rasp of the clarinets added to the impact here. The third movement, with its strange wind choir gives way to a lyrical flute solo to take the edge off the angst before the gradual build to the fury of the climax. The two brass sections were demonstrably up to the challenge and flared with thrilling impact. That there were empty seats in the house for such an impressive performance was almost beyond belief. If this had been in London or Birmingham it would not have happened.

The evening had opened with Tchaikovsky’s first Piano Concerto with Alexandra Dariescu as soloist. While it was very enthusiastically received by the audience I have to admit to some doubts – though not about the technical skill of the performer. The Schimmel piano did not seem to be a good choice of instruments for the venue. It was consistently over-loud and there were many times when the soloist appeared to be trying to make it even louder, as if she was not aware of the balance from the point of view of the audience. While the work calls for a bravura approach, which she certainly gave it, there are also many lyrical passages which call for a more introspective touch if only to give a balance to the more extravagant and extrovert writing. This balance was too often missing and there was a sense of trying to push the music forward at a faster rate than it wanted to go. Brian Wright was a sensitive accompanist here, keeping with the soloist even when she took over the tempi and moved it more rapidly that the tempo the orchestra had set. I understand that she has played the work frequently in recent months, including recording it with the RPO. It will be interesting to hear when the recording is released if it shows a greater level of sensitivity. I suspect it will do so, and I hope it may encourage her to look again at the score to re-assess her approach.

The new season opens on Saturday 10 October with another all Russian programme, with works by Khachaturian, Rachmaninov and Rimsky-Korsakov. Season tickets and single performance now booking on www.mso.org.uk