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Elgar, Copland, Stravinsky and Shostakovich: Conrad Tao (piano), Huw Morgan (trumpet), Badke Quartet [Heather Badke – Emma Parker (violins), Enikö Magyar (viola), Jonathan Byers (cello)], String Orchestra from the Royal Academy of Music, London, and the Julliard School, New York, Clio Gould (violin),  Wigmore Hall, London, 3.3.2009 (BBr)

Elgar: Introduction and Allegro, op.47 (1905)
Copland: Suite: Appalachian Spring (1944)
Stravinsky: Concerto in D (1946)
Shostakovich: Piano Concerto No.1 in C, op.35 (1933)


One of the best things about youth is that you give your all to everything you do, you never hold back, vitality and raw emotion are to the fore and holding back is for wussies. Tonight’s performance of Elgar’s great Introduction and Allegro was every bit a young person’s performance – virile and forthright with a beautifully winsome Welsh theme and a crackling Allegro, taken at quite a lick. The divil of a fugue had all the japes well pointed but the overall scheme of the piece was never lost. A couple of weeks ago I was moaning about the lack of direction which can come from performances led from the first desk, tonight there were no such problems, the musicians played, and sang, Elgar’s glorious music for all it was worth – and that is a King’s ransom.

Paring down the ensemble we had the suite from Appalachian Spring in its original 13 instrument version (2 each of 1^st and 2^nd violins, violas and cellos, with one bass, flute, clarinet, bassoon and piano) and what a performance this was. The music is much more transparent in this version than in its better known orchestral garb and it feels much more American too. After the big emotion of the Elgar piece, here was down home music, the simplicity of the countryside, the restraint of a small community going about its daily round. There were no big gestures in this performance and everything fell so easily into place that I realised, for the first time, just what a marvelous piece this actually is. We take it for granted for we hear it too often but we seldom listen to it. An interpretation as strong as this was needed to bring us back to actually hearing it again. Bravo to all concerned for this revelation.

Hearing the Stravinsky Concerto in D after it did the Russian a disservice for this is a piece in his desiccated manner, supposedly devoid of emotion, colour and humanity. Gould led her players in a warm and brisk performance which tended to cover the austerity of the writing – no bad thing as far as I am concerned – and give it more of a pleasant personality.

It’s isn’t only policemen who seem to be getting younger – it’s concert pianists as well. Conrad Tao is only 14 years old but he is the possessor of a formidable technique and the 1^st Concerto of Shostakovich, which needs fingers, and nerves, of steel, was an ideal vehicle for him. Another of those special things about youth is that silliness is a serious matter so all the jokes and absurdities of this piece were enjoyed by Tao without any feeling of self consciousness. The outer movements were hell–for–leather romps, these were masterfully handled and were well suited to his raucous approach. The slow movement, in which I would have welcomed a little more subtlety from Tao, was played like the pop song – music hall ballad might be a better description – it so obviously is, but without any hint of sentimentality. Tao was joined, and very well partnered, by trumpeter Huw Morgan who characterized his small part well.

The small band filled the whole building with a full, and very rich, sound when necessary – the Elgar sounded as if a full symphonic string section was at work – yet reduced to the most delicate and restrained textures in the gentler moments. A fine show which pleased a very full house and left us wanting more.

Bob Briggs


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