SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK CONCERT REVIEW

Prom 54 -  Turnage, Barber, Sibelius: Gil Shaham (violin), BBC Symphony Orchestra, David Robertson (conductor) BBC Proms, Royal Albert Hall, London 26.8.2010 (CR)

 

In the year of Mark-Anthony Turnage’s fiftieth birthday, this new work, Hammered Out was co-commissioned by the BBC and the LA Philharmonic. Tonight’s performance was the work’s world premiere, and a further performance is scheduled for Los Angeles in November. The traditional orchestral sound is ameliorated by bass guitar, two soprano saxophones and an array of percussion, and the music is highly influenced by popular styles, such as jazz funk and the music of James Brown. The sound was slightly muddy from my position in the hall, giving dominance to the brass, but listening back to the radio broadcast gave a more balanced sound. The music has a strong and contagious groove, with melodic fragments which are similarly catchy, fused with a contemporary harmonic language which adds a further, exciting, dimension. Changes of tempo help to maintain a sense of direction through the piece, and a recap of the opening material towards the end of the work provides a sense of coming full circle. The title refers to the percussion section, as well as to the concept of approaching a problem from a number of different angles. The piece has a sense of being well conceived, with a successful structural plan which also gives a sense of the music having an ideal duration for its material; it is neither too long nor too short and provides an enticing preview of the music from Turnage’s forthcoming opera, Anna Nicole. Hammered Out is a highly enjoyable and energizing work which has the potential to appeal to a wide audience. It bridges the gap between pop and contemporary classical music without dumbing down or seeming patronizing.

Barber’s Violin Concerto has long been a favourite work of mine. Gil Shaham’s performance was breathtaking, with beautiful subtleties of phrasing and colour and a wonderful tone produced on his Stradivarius violin. The orchestra accompanied well, with a good balance and some enjoyable solos from the woodwind and brass. The tempo of first movement was brisk, but without losing a sense of legato phrasing or dramatic tension. The orchestral tuttis were allowed to emerge well from the overall sound, providing a powerful emotional effect, while the solo violin lines were played with tenderness and delicacy. The slow movement was well played too, with Shaham’s rich tone coming to the fore, and a heartbreakingly beautiful oboe solo. I would have liked perhaps a little more space in the line, and more of the orchestral strings in the balance, but these are small points, and purely a matter of personal preference. The building momentum was well judged and Shaham’s playing was breathtaking throughout. The dazzling finale was fiery and energetic, with the utmost of technical control and panache. This was an excellent performance which could not fail to impress. The encore, Gavotte in Rondo Style by Bach, was equally impressive, with well balanced double-stopped lines and a delightful display of sound quality and musicianship.

The second half of the programme contained Sibelius’s Second Symphony, which was composed at the turn of the twentieth century and dedicated to Axel Carpelan. This was a lovely performance which was played with delicacy and sensitivity by the BBC Symphony Orchestra. Robertson’s pacing was well judged, with a good sense of ebb and flow and building momentum towards the climactic moments. The orchestra demonstrated an excellent sense of ensemble and balance throughout, with the changes of mood and intensity providing variety and colour. The more turbulent sections gave a sense of well judged drama and the beautifully played woodwind solos were memorable.

Carla Rees

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