SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK CONCERT REVIEW

Ravel, Schumann and Brahms: Imogen Cooper (piano), London Philharmonic Orchestra, Günther Herbig, Royal Festival Hall, 12.3.2010 (BBr)

Ravel: Suite, Ma mere l'oye (Mother Goose)

Schumann: Piano Concerto in A minor, op.54 (1841/1845)

Brahms: Symphony No.2 in D, op.73 (1877)

 

Since leaving these shores, in 1984, after serving as Principal Guest Conductor of the BBC Philharmonic,  Günther Herbig has held the position of Music Director to the Detroit Symphony for six years and has been with the Toronto Symphony Orchestras for five years. We  have not seen him in the UK as often as we deserve and tonight, therefore, was a special occasion.

Leading Ravel’s delicious Mother Goose Suite without a baton – the music seeming to flow from his fingertips – Herbig wove an hypnotic spell with this seductive work, drawing exemplary playing from the reduced London Philharmonic. The ending, with its gamelan effects, was particularly impressive and satisfying. This was 15 minutes of pure, unadulterated joy.

Due to the indisposition of Hélène Grimaud, Imogen Cooper stepped in to play Schumann’s Piano Concerto. Ms Cooper is well known as a Schubert specialist and she approached this piece as if it were a classical work, and not the romantic outpouring it so obviously is. I am sorry to report that I found this performance dull due to  too small a vision of the music from the soloist, albeit that she played it very well and with deep understanding. The passion was missing, and the forward thrust of the finale was lacking from both soloist and orchestra.

Brahms’s 2^nd Symphony was splendid with Herbig directing a superb performance, graced with the most committed playing from his orchestra. Herbig understood the ebb and flow of the first movement and allowed for drama and repose by turns, with big climaxes and the most tender of releases; the second subject, on its every appearance, was as limpid and seductive (not a concept you’d think of with Brahms) as you could wish. The slow movement was bold and beautiful and the intermezzo was fleet of foot. In the finale, Herbig chose a splendidly exciting tempo and proceeded to build on the thrill of the first movement and to create a fiery and roof raising peroration. This was splendid stuff and the kind of performance we are always hoping for when we go to concerts. I do hope that the London Philharmonic, which played superbly, will invite Herbig back for we deserve to share more in such great music making.

 

Bob Briggs