SEEN AND HEARD INTERNATIONAL

Glinka, Tchaikovsky and Rachmaninov: Freddy Kempf (piano), Royal Philharmonic Orchestra, Andrew Litton, Royal Festival Hall, London 13.4.2010 (BBr)

Glinka: Ruslan and Lyudmila Overture (1842)
Tchaikovsky: Piano Concerto No.1 in B♭ minor, op.23 (1874/1875)
Rachmaninov: Symphony No.2 in E minor, op.27 (1907/1908)


After a brisk, but never rushed  Ruslan and Lyudmila Overture, which got things off to a cracking start, with the piano already in place we were into the Concerto without having to wait for the stage to be re–arranged. What a sensible state of things this was; if only more concert organisers did this.

Whilst the 1^st Tchaikovsky Concerto may seem an easy choice, the trick is to have something new to say about it, and Kempf and Litton certainly did that. After an imposing opening section, there was much delicious interplay between soloist and orchestra: I was particularly impressed with the way Kempf emphasised the playfulness of much of the writing, even to the fact that he brought a music box–like quality to some of the filigree work. Climaxes were well built and there was a sense of urgency and drama throughout. The middle movement was, perhaps, the most satisfying of the three for here was the restrained Tchaikovsky, in chocolate box mode, with a quicksilver scherzo section. In this music the soloist has nothing to prove to the audience and so Kempf simply played it  in the most delightful and unaffected  way. The finale brings back the virtuoso, and a thrilling conclusion it was.  What impressed me about this performance was that it wasn’t played simply for the gratification of the soloist – there was a real give and take between piano and orchestra, both being equal partners. My only reservation was on two occasions, one in each of the outer movements, when Kempf had loud double octaves. After the orchestra had set up a suitable tempo, Kempf barged in at a much faster spees and although we were mesmerised by the bravura of his playing, it was out of kilter with the surrounding music  and articulation wasn’t as clear as it should have been.

The real meat of the evening came after the interval with Rachmaninov’s 2^nd Symphony. Litton had obviously given much thought to his interpretation and his understanding of the strengths and passion of the music was much in evidence. Using a lot of very welcome  rubato,  to heighten emotional response, here was a performance of grandeur, built of blocks of granite, the sheer weight of the music feeling almost overwhelming. With lyricism to the fore, and some of the best orchestral playing one could imagine, Litton slowly unveiled his vision, with tempi which were on the very edge of being too fast, but remaining within a sensible range, thus allowing the music to speak fully. There were times when caution was thrown to the wind and the scherzo was breakneck in its urgency. The slow movement is odd in that the big climax comes early in the movement and here Litton understood the reason for this – the majority of the movement, after the release, is a time for reflection, of taking stock after the insistence of the previous two movements, and allowing us to prepare ourselves for the onslaught of the finale, which was a magnificent summation of all that has gone before.

I must admit that after last Friday’s excellent performance of Shostakovich’s 5^th Symphony by this same orchestra, I wouldn’t have thought it possible to have an even more intense and totally satisfying performance of a symphonic work, but Litton managed it, and did it with aplomb, helped by playing from the RPO  of the very highest order,

There is only one word for what I heard tonight – stunning. Bring Litton back,  for the London concert stage needs this kind of brilliant advocacy. Bravo to all concerned.

Bob Briggs