Prom 14: Haydn, Benjamin, Brahms. Pierre-Laurent Aimard (piano) / BBC Symphony Orchestra / David Robertson (conductor). Royal Albert Hall, London. 24.07.2006 (ED)

 

Haydn : Symphony No. 94 ('Surprise')

George Benjamin :Dance Figures (UK premiere)

Brahms :  Piano Concerto No. 1 in D minor

Ending his first season as the BBC Symphony Orchestra's Principal Guest Conductor, David Robertson presented an eclectic trio of works to a sweltering Royal Albert Hall.

 

Haydn’s 94^th Symphony was efficiently lyrical under Robertson’s direction, as he sought to emphasise the internal contrasts within each movement through clear articulation from all orchestral departments. If a touch of predictability crept in just before the second movement’s initial surprise, maybe it says more for the extent to which it is anticipated than this performance per se. Subsequent surprises were energetically given, ensuring that the work was not just a one-hit wonder. Urgently alive rhythms pulsated through the closing Allegro molto, tastefully making much of the writing for lower strings.

 

Rather unusually, a full orchestral score of George Benjamin’s ‘Dance Figures’ was provided for press use in addition to the programme. Of this work Benjamin has said, “the fundamental thing is that it’s dance music, nine short movements that have clear statements; quiet and delicate with three rumbustious movements and the sixth is extremely noisy. Everybody in the orchestra has a spotlight at some point.” This underlines two factors always present in his music, technical command of the forces and harmony as a central concern. It moved seamlessly from haze-like textures though a swaying legato section of disintegration to elements that were strident in brass. Solos for an elegiac oboe or soulful viola countered heavy tutti cross-rhythms. Some sections make audible reference to Stravinsky, mixing The Rite of Spring with Petrushka and, later, quasi-Mahlerian passages played at much refracted tempi. A watery string canon diluted its movement’s material before the massed orchestra brought about a congested and decisively abrupt ending.  Robertson, clearly relishing the precision with which the large forces were utilised, gave a suitably to the point performance. The BBC SO showed their renowned facility for working on new scores once more.

 

During the performance I tried to imagine how this diverse set of compact scenes might be choreographed; a programme photograph shows a graceful pose from the Brussels staging in May this year. Although it’s hard to think of a performance space in the UK that would suitably accommodate the dancer(s) and the large orchestra this shouldn’t stop brave companies from trying. It will be, I feel, like most of Benjamin’s work, something that will grow in stature with time and I look forward to revisiting it.

 

Brahms’ first piano concerto is so much a repertoire work that it is hard to believe that this has not always the case. Pierre-Laurent Aimard’s performance however emphasised qualities within the work that many might have found difficult to accept when it was newly written. Aimard’s incisive ability to re-present a work one thought one knew never fails to stimulate and delight. Veering between the decidedly large of scale and intimate, his reading was considered yet impulsive. Passages of inner calm in the first movement were punctuated by furiously given flourishes, and at these times in particular Aimard maintained close visual contact with the orchestra. The middle movement saw emotion held on a tighter rein to bring out the half-lights of an ever lyrical and subtle adagio. But might it have been too controlled? Barely a moment to reflect on that though, as he launched headlong into the bouncing final rondo. Here as much as elsewhere was one aware that Aimard provided but one half of a discussion in sound. For his part, Robertson encouraged and received playing full of individuality and elegance tempered by underlying powerful forces.

 

Musically this concert was enthralling, but it is sad to note that extra-musical intrusions took away from the experience at times. A crash of falling glasses barely seconds before Haydn’s first surprise stole the moment slightly. Aimard himself, in common with a number of top flight pianists, provided a vocal line at times in many of the concertos big moments; such was his involvement with the piece. Worst of all though was an Arena Promenader ‘conducting’ and even shouting out during the Brahms second movement. Such antics one might just forgive on the last night, but the reputed respect Promenaders show music at other times needs to be carefully guarded to protect the enjoyment of all.

 

Evan Dickerson