Friday, 21 February 2020

Review of Hallé concert 20th February 2020


It takes a big pianistic personality to make Rachmaninov’s second concerto sound fresh and different, but Boris Giltburg has that personality – and the ability to go with it.

His playing of it with Sir Mark Elder and the Hallé was arresting from the very first note – the bass played as a kind of clear grace-note to the first chord, with the formula repeated, at varying speed, on almost every subsequent one in that crescendo sequence – which made it all sound quite menacing.

That was followed by an emphatically ponderous way (at first) with the first theme that may have surprised even the accompanying orchestra a little. But that’s the way Boris likes it: deep and soulful in the big themes and dazzlingly brilliant in the helter-skelters. It sounds very Russian (he’s Israeli but born in Moscow) and perhaps a bit flash – but Russian music needs that element, too. Gloomy, beautiful and stunning all at the same time.

The Hallé’s wind principals made some superb contributions in their solos – Sergio Castelló López’ clarinet in particular at this stage, and in the second movement Amy Yule’s flute also: it was here that the tempo flowed much more smoothly and built feeling less hysterically. The orchestral details were beautifully articulated under Sir Mark’s direction, and with the violins, led by Eva Thórarinsdóttir, evoking expression and sustaining the mood to the very end.

The finale was every bit as impactful as the opening, with surging momentum and seriously scary pace by the end. Boris Giltburg (who undertook the assignment of this concert at short notice in place of Alexander Gavrylyuk) has built a big reputation playing Rachmaninov, and this performance showed why. His approach is never routine and presses the expressive power of the music to its limit – something his audience appreciated and loved.

They also surely appreciated the serene equilibrium and rhythmical alertness of Sir Mark’s reading of Ravel’s Le Tombeau de Couperin in its four contrasted movements. The smaller than full string body gave it crispness as well as a rich sound, the oboe (Stéphane Rancourt) and cor anglais (Thomas Davey) solos were eloquent, and there was a lovely burst of deep feeling from the strings in the Menuet reprise, while the final Rigaudon was both bouncy and poised.

Full forces were on parade for Prokoviev’s Symphony no. 7. It’s an ambiguous piece – superficially straightforward and tuneful, but with little touches of foreboding and unease (perhaps the most a good Soviet citizen felt he could say while Stalin was still alive). But the opening has a tinge of Shostakovich’s starkness, and the film-score-ish writing that follows is upended by spiky jollity. Even the ‘circus’ music of the last movement, though fun, comes near to irony, and the solemnity that ensues sounds almost like sarcasm. Sir Mark and his players made the orchestral sound glitter, but were always alert to the sombre tones also in the mix.

Sir Mark Elder

Sunday, 2 February 2020

Review of BBC Philharmonic concert 1st February 2020


At first sight, putting Myaskovsky’s sixth symphony into a programme immediately following the Hallé’s performance of Beethoven’s ninth might seem an inspired comparison. Both have four long movements, and in both cases the last is a choral one.

But in Myaskovsky’s the choral part is actually optional – putting words to the tune of an Orthodox chant that could stand on its own if necessary – whereas you could hardly say that the words are optional in Beethoven’s case.

I was glad that Vassily Sinaisky presented the 1923 symphony, though, because it’s a work with a voice all its own. Epic, in the post-Mahlerian tradition of being a journey that crosses many territories, it also seems, subtly, to speak to the Russian nation’s soul in the way that many of Shostakovich’s symphonies did.

Maybe Myaskovsky was defying political orthodoxy in one way, because it’s not the conventional darkness-to-light symphony that was routinely expected in his time: there’s a Dies Irae in the final movement, and the chant is a funerary one, after all, despite the previously dominating themes of jollity, using songs of revolutionary fervor. But on the other hand he gets quotations from the death of Boris Godunov and the end of Tchaikovsky’s sixth into his first movement, not his last, and right at the end there is a clear impression of serenity.

At least there was in Sinaisky’s interpretation, which was as rich and many-layered as the work itself. Its slow movement contained some seriously beautiful playing from the wind soloists of the Philharmonic, as the strings, led by Yuri Torchinsky, were soulful in their expression also.

Soloist in Szymanowski’s Violin Concerto no. 2 was Liza Ferschtman – not Tasmin Little, as originally planned, but what a superb substitute. She responded to the varying emotions of the piece with both dreaminess and fierce attack, dispatching the mid-work cadenza with panache, and playing the long lyrical interludes of the second part gorgeously, matched by some purple tutti passages from the orchestra near the end.

She followed this display with another of technical skill in the service of beauty: Ysaÿe’s solo sonata no. 5, first movement.

The concert opened with Rimsky-Korsakov’s music: two scenes from The Golden Cockerel ballet. It was an attractive appetizer, with the familiar Wedding Procession tune built up to effectively and then rumbustiously played, at least in intent.

Vassily Sinaisky

Friday, 31 January 2020

Review of Hallé concert 30th January 2020


When this last concert of January was first planned by the Hallé and their partners in our Manchester Beethovenfest (probably around two years ago), it can hardly have occurred to anyone that the strains of the Ode to Joy setting in the Choral Symphony would be heard on the eve of the day we left the European Union.

Some in the audience were aware of it last night, though, and it was hard to tell whether the standing ovation which greeted the end of the piece was purely in tribute to a great performance (though it was) or also in memoriam of an era of shared European identity.

It was good to see a sell-out concert at the Bridgewater Hall again, anyway, and to hear the ‘Manchester roar’ that Charles Hallé used to be familiar with, again arising from the assembled throng. Members of the Association of British Orchestras – whose presence helped to fill those seats – on their annual conference, did at least get a sample of what we do best.

Sir Mark Elder mixed some slightly less familiar Beethoven in with the box office draws for this programme: the Elegischer Gesang, performed by the Hallé Youth Choir (with members of the RNCM Chamber Choir) and strings of the orchestra, being one serendipity. They brought lovely mellow tone to this most mellow of farewells.

The Hallé Choir gave us the final Angels’ Chorus from Christ on the Mount of Olives, too. The whole oratorio is coming on 9th April, so it was a trailer – sung with such dramatic levels of contrast that the vocal lines were down to whispers at times, but an appetizer without doubt.

Drama is what Sir Mark does superbly well, as the opening Leonore no. 3 overture demonstrated. Its initial bars were distant and mysterious, with palpably unnerving stresses; its first main theme thrilling in its optimistic energy; the scene of the distant trumpet calls well caught in its hymn-like confidence combined with jittery unease. And in the later section we heard a sparky solo from the Hallé’s new principal flute, Amy Yule – her colleagues the leaders of oboe and bassoon were to shine alongside her equally in the Ruins of Athens overture later.

The Ninth Symphony is one Sir Mark has conducted on a number of big occasions in the past with the Hallé. This was one of the best, as its tantalizing sense of anticipation – grim and anxious in the first movement, busy and cheerful in the second, serene and exalted in the third – led to a finale that was multi-faceted and heartfelt. The four soloists (Elizabeth Atherton, Sarah Castle, David Butt Philip and Neal Davies) were placed behind the orchestra just in front of the chorus, which lent their voices a kind of aural halo, and the playing of the Hallé Orchestra, led by Zoe Beyers, had all the contrasts of crispness and sweetness Sir Mark evokes from his players so well. Yes, it was a great performance.


Sir Mark Elder with the Hallé

Sunday, 19 January 2020

Review of BBC Philharmonic concert 18th January 2020


I doubt there were many listeners for whom the really memorable thing in Saturday’s BBC Philharmonic concert was not The Lark Ascending, Vaughan Williams’ exquisite little tone poem of English open-air tranquillity.

That its violin solo was played with a kind of pristine purity by Jennifer Pike was part of the joy of it. A lark, after all, just sings: it doesn’t do ‘expression’ or Romantic emotion. And yet the warmth of tone from her D string was a wonder in itself – and the others equally beautiful.

But the piece itself simply grabs you with a few phrases that keep coming again and again: not literal birdsong, but like birdsong in their guileless repetition.

Anna Clyne’s Night Ferry, an English creator’s work around 100 years newer (written in 2012) and already promoted to the BBC’s Ten Pieces orchestral pantheon, shares that characteristic. She’s brilliant at repetitive units (ostinati, I guess) that give you something immediate to recognize and hang on to in the welter of sounds that make up her score. And there’s plenty of information as to what it’s about – she writes of poems describing a voyage at sea (a raging one, at the outset, it seems), and she made a collage picture to describe the same sort of experience of mood swings as she’s illustrating in  her music (a copy for everyone supplied with their programme booklet).

‘Gewaltig viel Noten’, as Josef II once said of another composer’s work. Under Ben Gernon’s direction the Philharmonic worked conscientiously through what was also, to some extent, designed to be a demonstration piece for large orchestra.

Berlioz’ Symphonie Fantastique was an interesting contrast. It’s also written for a big orchestra to play, and also tells a story – one of the first works that sounds as if it’s written for the theatre but is actually a concert piece. And it’s also trying to uncover aspects of unhappy mental experience. It goes without saying that it was played with vigour and enormous impact, though perhaps there could have been room for some more subtlety in balancing the brass, string and wind cohorts along the way.

Jennifer Pike (picture: Tom Bangbala) and the BBC Philharmonic