Petr Eben, Brahms and Dvořák: Cédric Tiberghien (piano) / BBC Symphony Orchestra / Jiří Bĕlohlávek (conductor). Barbican Hall, London. 26.03.2007 (ED)


Petr Eben’s “Vox clamantis” is a work from the late 1960s that wears its age relatively lightly. Unlike some compositions from that time it still sounds an approachable and relevant piece of music. There are discernable links to other voices of the period, notably Shostakovich in his most Soviet vein, with the uniform manner of treating orchestral strings. With textures built in blocks of sound rather than an interweaving of distinct instrumental lines, the work carried a rather solid air about it, above which three solo trumpets proclaimed in unison with some urgency of tone. Encompassing elements that gave a quasi-liturgical feel to proceedingsat times – the use of tubular bells, for example – only the presence of a recorded voice twice declaiming the words of the Prophet in Hebrew now seems a little incongruous as a device.

The performance of Brahms’ mighty first piano concerto could be described as a work in progress, as it never really established a truly Brahmsian sense of sonority and scale that was maintained throughout the work. The BBC Symphony Orchestra sounded rather uncertain in their accompaniment at times, which is strange because these forces have just recorded the work together. Try as Jiří Bĕlohlávek did to keep the orchestra focussed and on course, it was co-ordination with Cédric Tiberghien’s playing of the solo part that proved most problematic. He varied between an imposing and full voiced approach and something more introverted and slender of scale. The cadenza however was luxuriantly fingered and possessed of some unity of purpose. In overall terms though, Cédric Tiberghien’s conception of the work, to my ears at least, could do with further reflection. Being a young artist, there is time enough for this to happen.

Dvořák’s fifth symphony on the other hand, gave ample opportunity for the BBC Symphony Orchestra and Jiří Bĕlohlávek to show themselves in near best light. Imbued with a plein air spirit, the opening Allegro was exhuberant and buoyant in its rhythmic interaction, with the balance of sonorities being carefully considered too. Bold lyricism in the playing was given extra presence through shading and surging, highly involving tone. The second and third movements showed Jiří Bĕlohlávek at his most extemporary, to bring out the qualities of momentary darkness that invade Dvořák’s writing periodically. Lower strings and woodwind though, were effective in contributing contradictory if not wholly competing areas of attention. The fourth movement rounded things off with unbridled passion, which showed to some extent, the composer’s operatic experience in the handling of thematic material within an orchestral setting.  All in all a thoroughly satisfying reading, that showed how much there is still to be commonly acknowledged in Dvořák’s symphonic writing.



Evan Dickerson