SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD CONCERT REVIEW

Prom 41- Scriabin and Stravinsky: Nadezhda Serdiuk (mezzo–soprano), Sergei Skorokhodov (tenor), London Symphony Chorus (chorus master: Joseph Cullen), London Symphony Orchestra, Valery Gergiev, Royal Albert Hall, London, 16.8.2010 (BBr)

Scriabin: Symphony No. 1 in E, op.26 (1899/1900)

Stravinsky: The Firebird (complete ballet) (1909/1910)

Both of these works were written when their respective composers were in their twenties and both show their fledgling composers spreading their compositional wings before taking flight.

Scriabin’s 1^st Symphony is a big six movement affair, with vocal soloists and chorus joining at the end in verses written by the composer and extolling, in somewhat naïve terms, the importance of art. The first and third movements start with the kind of music which Scriabin would later refine, and use to great effect at the start of Le Poème de l'extase, not to mention a very Glazunov inspired scherzo. Along the way there’s some Tchaikovsky and Liadov, as well as a very Western style working out of the material. Overall, there’s very little trace of the Scriabin which most people know – the Black and White Mass Piano Sonatas and the aforementioned Poème – but, it must be said, although it’s so obviously a first attempt at a Symphony, it holds the attention and is a bold and, almost, satisfying work. I think that the word almost is justified for the work is too long for its material despite the composer trying so hard to achieve his goal. Gergiev was totally at home in this music, feeling the flow of the music, grasping the somewhat spralling structure, and delivering a fine performance.

Stravinsky’s Firebird ballet is an astonishing first attempt, and it’s easy to see why we are given the Suites so often; there are places in the complete score where one is left waiting for another highlight as the music is so obviously welded to some stage action which leads from one visual idea to the next. Thus, as a concert work the Firebird isn’t as satisfactory as either Petrouchka or Le Sacre. However, tonight Gergiev really got to grips with the work and displayed such an understanding of the piece, that one was hardly ever aware of these lacunae – what’s more, Gergeiv moulded the music so perfectly that the well known parts didn’t suddenly jump out of the score but were achieved as part of the continuing whole. Marvellous.

The LSO was on top form, every department delivering distinguished and vital performances.

Bob Briggs

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