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Rimsky–Korsakov, Shostakovich, Rachmaninov: Nikolai Demidenko (piano), Philharmonia Orchestra, Tugan Sokhiev, RFH, London, 31.1.2009 (BBr)

Rimsky-Korsakov: Capriccio Espagnol, op.34 (1886)
Shostakovich: Piano Concerto No.2 in F, op.102 (1957)
Rachmaninov: Symphony No.2 in E minor, op.27 (1906/1907)

It wasn’t until the fourth movement of Capriccio Espagnol that tonight’s performance really took off, but when it did it was a most exciting and satisfying show. Starting with such a work as Rimsky’s fanciful travelogue is always going to be tricky for the orchestra is really plunged in at the deep end without ceremony, hence the somewhat reticent start. As these things happen in concert the feel of hall and audience takes a grip on you and that’s when the magic starts to happen. And happen it did. The five cadenzas of the fourth movement were very well delineated and the fandango of the finale was a riot of sound.

Although written for his son to play, and filled with good humour, Shostakovich’s 2^nd Concerto is anything but a picnic on a pleasant sunny afternoon; it’s a nightmare of notes for the soloist but for Demidenko it held no such fears as he seemed to breeze through the work effortlessly. The slow movement, which seems to be more a pop ballad than a Concerto slow movement, was especially well done and, best of all, it wasn’t allowed to drift into sentimentality but was given straight, as was intended, with a gorgeous romantic hue pervading every bar. I also loved Demidenko’s deadpan approach to the fast theme in the first movement, which always reminds me of “What shall we do with the drunken sailor?” Sokhiev’s accompaniment was full bloodied and he wasn’t afraid to allow the orchestra some space to express its not inconsiderable part.

After the interval Sokhiev and the Philharmonia gave a stunning account of Rachmaninov’s glorious 2^nd Symphony. The more I hear this work, the more I love it; indeed, it’s impossible to dislike the piece! And when you get a performance as committed and well worked out as this it’s a sheer joy to listen to. And that’s when my job becomes a real pleasure. What can I tell you? Sokhiev paced the music well, allowing for the emotional turmoil which pervades the work – like the Shostakovich this is not as straightforward a work as one might imagine it to be. In her interesting notes in the programme book, Wendy Thompson writes that these days Rachmaninov’s symphonic music is “…treated with due respect.” And this is true, to an extent, but that extent was breeched tonight when, after excellent performances of the first three movements of the Symphony, Sokhiev took the totally misguided step of excising about 4 minutes of music from the finale, just as Solyom did in his performance at the Proms last year (I believe this is called the Sanderling version). OK, so Sokhiev must think something of the Sanderling version, but quite frankly, any musician worth his salt must have an higher regard for the Rachmaninov version, if only because it’s better! Apart from the obvious butchery involved in the cutting, by removing any part of the music makes a nonsense of the perfectly proportioned music Rachmaninov has created. I am appalled at Sukhiev’s actions for he is obviously a fine conductor, very undemonstrative, with good stick technique, who allows the orchestra to play without getting in its way, and can display his concept of the architecture of the music before us with ease. He is a communicator.

Overall, a fine show, despite the excision, and I must make special mention of Jill Crowther’s gorgeous cor anglais playing – this was a real highlight.

Bob Briggs


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