SEEN AND HEARD INTERNATIONAL

Other Links

Editorial Board

Google Site Search

Internet MusicWeb

Khachaturian, Prokofiev and Tchaikovsky: Freddy Kempf (piano), Moscow Philharmonic Orchestra, Yuri Simonov, Cadogan Hall, London, 17.10.2008 (BBr)

Khachaturian: Spartacus Suite (1950/1953)

Prokofiev: Piano Concerto No.3 in C, op.26 (1921)

Tchaikovsky: Symphony No.4 in F minor, op.36 (1877/1878)


Apart from a recent CD re–issue of a live performance (8 April 1944) of his Piano Concerto by William Kappell (conducted by Eugene Ormandy, Music and Arts CD-1109) I haven’t heard a note of Khachaturian’s music in over 25 years – indeed, not since I wrote a sleeve note for an LP of his orchestral Suites. I wasn’t over impressed with what I heard then and I was more than slightly miffed at the prospect of having to sit through a three movement Suite of music from his ballet Spartacus. I am very happy to report that I thoroughly enjoyed this music, it’s vibrant, colourful, passionate – the famous Adagio of Spartacus and Phrygia – and full of good tunes and great orchestrations! It made a sparkling overture to a very exciting evening of great music making.

Freddy Kempf made a wonderful job of the demanding 3^rd Concerto of Prokofiev. It’s easy to see why this work has become so popular over the years and Kempf infused new life into a piece which we think we know well. He handled the various moods of the first movement with such mellifluousness and care that it was as if the notes were minted afresh. In the slow movement variations he particularly impressed me with his tender playing of the theme, and the introspective music was sublime. The finale is the weakest movement of the three, containing a, perhaps, too banal tune which isn’t quite up to the inspiration of the material of the other movements. Despite this, it’s great fun and the grotesquerie was nicely pointed with a dazzling coda all sunlight and laughter. Throughout, Kempf and Simonov gave such commitment to the work that it proved to be a revelation to one as saturated with music as me! Marvellous stuff!

After the interval, full of angst, paranoia and not a little self doubt and a belief in kismet, Simonov and the orchestra delivered a monumental account of Tchaikovsky’s troubled 4^th Symphony. The opening horn calls immediately knocked us back into our seats and the disturbed first movement – even the, supposed, gentler second theme was overlaid with a sense of foreboding – was filled with worry and an almost unbearable tension. The second movement, with its glorious oboe solo, felt less than comfortable – there was always something there in the background which you couldn’t quite get hold of, and it disquieted you. The scherzo was taken at a more deliberate tempo than is usual but this allowed Simonov to really point the differences between the three elements of the music; the pizzicato strings, the fairground woodwind and the brass march. The playful mood was broken by the carnival music of the finale but, even here, Simonov knew that tensions were mounting and when the huge repeat of the motto, fate, theme broke through the festive mood it was devastating in its power and fury.

What a fine orchestra the Moscow Philharmonic is! And what a predominantly young orchestra too. Over the past ten years or so, the Russian orchestras have lost some of their, what we always thought of as, essential Russian sound, especially the wobbly horns! They now sound much more Western than before but this hasn’t tempered their enthusiasm for their music making! The orchestra displayed a full and rich sound – wonderful warm string tone, singing woodwinds, forceful and ringing brass and rampant percussion (when necessary). Simonov directed performances of the highest distinction. The full house was more than well pleased but, like Oliver Twist, we wanted more and the strings gave a beautiful and restrained performance of the Nocturne from Borodin’s 2^nd Quartet. We were even more pleased and wanted even more but Simonov had to check his pocket watch before launching into a swaggering account of the Waltz from Tchaikovsky’s Sleeping Beauty and the full band delighted us and sent us home happy and most satisfied.

This was a concert which will live long in the memory and is a superb start to this season’s Zurich International Concert Series at the Cadogan Hall.

Bob Briggs


^{Back to Top                                                    Cumulative Index Page}