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Mozart, Prokofiev, Grieg, Beethoven: Leif Ove Andsnes, Norwegian Chamber Orchestra, Cadogan Hall, London, 18.5.2009 (GDn)

Mozart: Piano Concerto in Eb Major K.449
Prokofiev: Symphony No. 1 ('Classical')
Grieg: Holberg Suite
Beethoven: Piano Concerto No.3 in C minor Op.37

All standing and performing from memory, that’s a level of commitment rarely seen in orchestral playing on the London stage. In fairness, it was only Grieg’s Holberg Suite that was played without the dots, but a similar level of passionate engagement ran through the whole of the Norwegian Chamber Orchestra’s concert. Most of the players in the group are young, in their twenties or thirties, and the youthful exuberance of the ensemble is both distinctive and attractive. I was reminded as they played of a certain Venezuelan ensemble who have been making the headlines recently. Both groups seem able to win over the masses with a combination of youthful zeal and seemingly infinite resources of energy. Exaggerated gestures are the consequence of this approach, and a good deal of subtlety is missing, especially in a programme grounded in the classical style, but the ability to breathe new life into these old favourites is a rare gift and the overall effect more than made up the occasional swamped details.

Considering their ability to play the work from memory, and to do so at this standard, it is safe to assume that the Holberg Suite is something of a calling card for the group. The hardanger fiddling on the violins and violas was particularly impressive, as were the (again much exaggerated) fortissimo climaxes.  Terje Tønnesen, the group’s leader and de facto conductor relished every solo. He has a hyperactive presence, conducting with his bow when he is not playing, but also managing to do so when he is. Tønnesen led the group from its inception in 1977, stepping aside in 1981 for Iona Brown, whose tenure was equally fruitful, but then returning to the helm in 2001. From the group dynamics in this piece, he is clearly a leader who really leads, and the unity of style and intent in the orchestra’s performance clearly owes a great deal to his vision and long service.

The other side to the orchestra’s exuberant approach was demonstrated by Prokofiev’s Classical Symphony. It is fair to say that nobody on the stage was taking Prokofiev’s title at face value, and a more Romantic interpretation could hardly be imagined. Again, the fortissimo interjections and climaxes where given real punch, energising the music whilst revelling in its anachronism. The orchestra cultivates a lush, full string sound, which it seems reluctant to tone down. That’s not necessarily a problem here, there is no sin in acknowledging that this is a twentieth century work. In fact, it is an advantage in the Finale, the melody weaving between the different string parts, but played with equal commitment by all and elegantly transferred without any interruption to the melodic line.

Concerto performances by Leif Ove Andsnes framed the programme, the Mozart Eb Major K.449 to start, the Beethoven No.3 in C minor to close and a Haydn D major finale for an encore. Andsnes shares many qualities with this orchestra. He too is young, energetic and able bring new insights to performances of the standard repertoire. And like them he always ensures a strong sense of melodic continuity, the various themes and passages growing from each other into an interlinking, organic whole. His touch errs on the legato side, which like the lushness of the orchestral string sound has the effect of Romanticising the Classical textures. He played the Cadogan Hall’s Steinway without its lid (so as to direct when not playing), which had the unfortunate effect of projecting the piano sound into the upper reaches of the hall, blurring many of the textures.

But it didn’t matter, Andsnes is an extraordinary pianist, and his ability to communicate his distinctive interpretations was more than a match for these acoustical inconveniences. Both concertos benefited from the daring rubato he applies to individual phrases, dwelling at the top of a short run or ornament for example, but returning to the orchestra’s pace at the precise moment required to synchronise the cadence. The variety of dynamics, articulations and ornaments he applies to the music creates continuous interest. Some may prefer a stricter style for their Mozart, but Andsnes more than vindicates the composer’s preoccupation with melodic invention at all costs. In fact, many interpretive decisions in this concert could be deemed controversial; purists may even consider the approach populist. But the unity of intent, the standard of the playing and the conviction behind every interpretive decision dispelled any such concerns. A passionate, committed and utterly convincing performance.

Gavin Dixon

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