SEEN AND HEARD INTERNATIONAL

Bach/Elgar, Prokofiev and Rachmaninov: Poom Prommachart (piano), Young Musicians Symphony Orchestra, James Blair, St John’s, Smith Square, London, 29.9.2010 (BBr)

J S Bach: Fantasia and Fugue in C minor, BWV 537 - orchestrated by Edward Elgar, op.86 (1922/1921)

Prokofiev: Piano Concerto No.2 in G minor, op.16 (1913 rev 1924)

Rachmaninov: Symphonic Dances, op.45 (1940)

I have a recording of a live performance of Prokofiev’s 2^nd Piano Concerto given by the 21 year old Vladimir Ashkenazy. As you can imagine, the pianism is almost beyond comment; it’s alive and vital. Indeed, it could almost be Horowitz! Poom Prommachart is only 20 years old, but his performance of the Prokofiev 2^nd Concerto this evening was every bit as exciting and vital as the young Ashkenazy. This is no mere puff, for here is a pianist with an astonishing technique and the intelligence and insight to bring off a big work such as this. Prommachart has obviously thought long and hard about how to interpret this music, and it needs time for it is an odd concoction. Written before the experience of the Scythian Suite and the operas The Love for Three Oranges and The Fiery Angel, but revised just as he was starting work on his 2^nd Symphony – a Symphony made of iron and steel, as the composer has it – this work has both youthful exuberance and aspects of the enfant terrible he became during his Parisian sojourn in the 1920s.

Prommachart threw himself into the work with a wild abandon and played the piece as if it were regular repertoire. He didn’t put a foot, or finger, wrong, and delivered a powerhouse of a performance. He was well partnered by Blair and his orchestra which, by turns, cajoled, annoyed, attacked and generally disturbed the soloist and gave a performance of almost symphonic weight. Here was a true partnership with all concerned working together towards the goal of a fine performance. Make no mistake, Prommachart is a major talent and he shouldn’t be missed.

Rachmaninov’s Symphonic Dances is a favourite piece of mine and tonight I was given as fine a performance of the work as it has been my privilege to hear. With Blair’s experience coupled to the youthful high spirits of his musicians, the work emerged less as a swansong, than as an affirmation of life, the youthful spirit allowing us to look death square in the face and telling him in no uncertain terms to sling his hook, and leave us, for we’re having none of it. The momentous event of the screaming of the Dies Irae towards the end was swiftly despatched, and although the composer’s own dark feelings were at the forefront of the interpretation I felt hope, for the first time in this piece.

Make no mistake, this was a great performance by any standards. Blair has an exceptional collection of young musicians under his charge and things can only get better – if, that is, you can improve on something so close to perfection in interpretation and execution.

I must mention one very important matter. St John’s has undergone a refurbishment and now has access for wheelchairs and the disabled, so this fine concert hall is now open to everyone, and I hope that we’ll see more houses as satisfyingly full as tonight.

Bob Briggs