SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK CONCERT REVIEW

Prom 58 - Dvořak, Martinů, Janáček and Grieg: Lars Vogt (piano) Czech Philharmonic Orchestra, John Eliot Gardiner, Royal Albert Hall, 29.8.2010 (GD)

Dvořak: Overture 'Carnival' Op. 92
Martinů: Fantaisies symphoniques (Symphony No. 6)
Grieg: Piano Concerto in A minor, Op. 16
Janáček: The Ballad of Blanik
Dvořak: Symphony No.8 in G major, Op. 88

In terms of programming this was something of a novelty - even an oddity. The ever popular Grieg Piano Concerto was sandwiched between a well chosen selection of Czech compositions in which the Czech Philharmonic are of course hors concours and the Grieg’s inclusion made this Prom a very long one, with two intervals instead of the usual one. This was, no doubt, why the Prom was scheduled to start one hour before the conventional time of 7.30 PM but as it turned out, the Grieg received an excellent performance from German pianist Lars Vogt. And although I could find no stylistic connection to the other Czech works the programme t proved to be a fascinating fusion; surely one the highlights from this year’s Proms.

As far as I know, Gardiner's relationship with the Czech Philharmonic is a very recent one. I had not previously associated this baroque specialist with Czech music, but right from the exuberant opening of the Carnival overture (for my taste a little rushed) an immediate rapport emerged between conductor and orchestra. Of course any non-Czech conductor confronting this orchestra in Czech repertoire - which they can obviously play with hardly any direction at all - might reasonably wonder what his function might be exactly, but this was clearly not the case with Gardiner. He has obviously studied and digested these works thoroughly and his own distinctive interpretative conception was apparent throughout the concert.

In the Martinů symphony, Gardiner managed to balance the work’s 'fantastic' elements within a very coherent and rhythmically precise structure. We had no impression of the symphony being merely an  orchestral showcase, as is the case with the recording that Charles Munch (the works dedicatee) left us. Gardiner achieved a wonderful sense not only of the 'fantasy' elements - hovering woodwinds and tonal ambiguity, from the beginning - but of the striking contrast between passages of soaring lyricism in strings and woodwind, and the darker elements of menacing tutti ostinato passages - especially in the second movement 'Lento allegro'. The swirling string figurations in the Allegro vivace of  the last movement 'Lento' unfolded naturally, with no special accents or emphasis from the conductor. In passages like this, the Czech Philharmonic play like no other orchestra can. The strings and woodwind have a tonal firmness and gravitas, but also an inimitable warmth, which corresponds absolutely with the very distinctive Czech qualities of Martinu's score. It’s a score replete with references, quotations from Czech folk themes, and also clear quotations from his own earlier Piero della Francesca Parables and the four-note motif from Dvořak’s Requiem, among others. Gardiner correctly deployed antiphonal violins which enabled us to hear the many passages of delicate counterpoint, both while playing on their own and accompanying the more concerted passages.

Since its first performance in 1869 the Grieg Piano Concerto has enjoyed enormous popular success and all manner of interpretations, many emphasising pianistic virtuosity as its prime feature, with others that overlay this basically ‘classical’ concerto with excessive rubato and sentimentality. I am pleased to report that these features were omitted in favour a more restrained intrepretation by Lars Vogt which allowed us to hear the concerto more as Grieg wrote it. Both Vogt and Gardiner emphasised the more structural 'symphonic' aspects of the work while never losing sight of its innate lyricism. Accordingly, Vogt and Gardiner played in total harmony.

The opening movement’s transition from the tonic A minor to the A major of the lyrical second subject  was managed in an absolutely convincing and natural manner; the Czech Philharmonic reminding us that they can excel just as resplendently in non- Czech music. The  A flat Adagio, brief but poetically expansive, was as sustained and affecting as I have ever heard it, and here Vogt reminded me of Lipatti in his ability to reveal every pianistic nuance without ever detracting from the main musical line. The Finale's opening 3/4 figure was given an engagingly buoyant lift and the lead in to the lyrical A major second theme sounded magical. The coda's fusion of that theme with the opening theme’s quasi presto brought the concerto to a rousing, triumphant conclusion. Even the closing fff timpani roll made a terrific, and musical, effect.  As an encore, Vogt gave us a wonderfully reflective rendition of Chopin's Nocturne in E minor.

After  the Grieg, Gardiner and the orchestra returned to very Czech territory with Janáček's relatively early and infrequently played symphonic poem The Ballad of Blanik. The piece lasts no less than eight minutes and includes a whole range of dramatic/lyrical contrasts, not to mention some seductive tonal ambiguity in the opening music portraying the Blanik mountains between Brno and Prague. Here we are in the allegorical soundscape of Czech myth and legend -  in this case the mythical knights of St. Wenceslas providing themes which will include rocks breaking open to reveal visions of past heroes and symbols  of valour overlaid with depictions of a typically nationalistic portrait of the plenitude of  land and soil and the harmony between them. All this was conveyed convincingly with particularly shimmering strings and tantalising flashes of colour and contrast from celesta and harp; all dramatically unified in a concluding accelerando which gives way to heroic trumpet fanfares before a hopeful and triumphant  close in a major key.

The Dvořak symphony was also played magnificently. Once again Gardiner conducted a very sympathetic performance focusing more on the overall symphonic argument rather than any specific points of detail.   I did feel however that  the performance needed more rhythmic and dramatic inflection - or one could say 'bite' – of the kind one hears so beautifully/powerfully realised in the 1960 Karel Ančerl performance with the same orchestra. The first movement’s development section , the Allegro con brio was nicely paced but with its wealth of motivic ideas from Slav and Czech folk music, it could have done with more dynamic thrust and contrast. Similarly, the coda lacked a certain rhythmic swagger.

The second movement Adagio (not really an adagio in the literal sense) was beautifully phrased and delineated but I wanted more dramatic contrast in the darker C minor episode. The Allegretto grazioso was a joy in its elegance and convincingly realised  dance rhythms however and the finale also had great charm and resilience. The main 'carnivalesque' Allegro lacked a certain dynamic frisson, sounding rather four-square in comparison with Ančerl and the coda, which should erupt in frenzied carnival power, seemed relatively tame. Even so, to have the Czech Philharmonic play Czech music 'live', even in the cavernous acoustic of the Royal Albert Hall, is an important  event in itself and despite the reservations about tonight’s performance made the orchestra’s continuing importance abundantly clear.  

To end the Prom, Gardiner gave us an encore;  a suitably rousing rendition of Dvořak 's Slavonic Dance No.1 in C major, from the Opus 46 set.

Geoff Diggines

   
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