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SEEN AND HEARD UK CONCERT REVIEW
Martinů, Hummel,
Dvořák:
BBC Philharmonic Orchestra/Günther
Herbig (conductor),
Karen Geoghegan (bassoon),
Bridgewater Hall, Manchester, 14.1.2011 (MC)
Martinů:
Symphony No. 6 ‘Fantaisies symphoniques’
(1951/53)
Hummel: Bassoon (Grand) Concerto (c.1805 or 1811/16)
Dvořák: Symphony No.8 in G
major, Op. 88 (1889)
Günther Herbig proves the point that there
is no substitute for experience. The German maestro has
had a long and fruitful relationship with the
BBC Philharmonic since becoming their
Principal Guest Conductor back in 1980. I
have attended several BBC Phil concerts with Herbig at the helm and reflect back
to the 1983/84 season experiencing marvellous performances of Bruckner 5
and Mahler 5 at Manchester’s old Free Trade Hall.
At the Bridgewater Hall a splendid evening of music from three composers all
with birth roots in Slavic lands was programmed by the BBC Phil. The concert
commencing at the earlier than usual time of 7.00pm was broadcast live for BBC
Radio 3. Each work was introduced by presenter Petroc
Trelawny.
The opening score Martinů’s
Symphony No. 6 ‘Fantaisies symphoniques’
comes from a period when the Bohemia born composer was sharing his time between
Europe and the United States. A
twentieth-century masterpiece the symphony for large orchestra including five
percussionists deserves to be far better known. The
Fantaisies symphoniques is no stranger
to the BBC Phil but I doubt they can have played it better than this. Under
Herbig the playing of the score produced an irresistible impact often with the
intoxicating power of an adrenaline rush. As a former
orchestral violinist Martinů certainly knew how to write for strings.
I loved the eerie swirling textures that reminded
me of insect swarms. Herbig allowed Martinů’s
music to breathe and the darkly beautiful string
sound was impressive especially the resplendent tone of the outstanding cello
section.
Bassoon concertos are not the most frequent visitors to
the concert hall. But what’s that saying about buses coming all at once? It was
only two months ago that the BBC Phil audience at the Bridgewater heard the
distinguished bassoonist Dag Jensen play the Mozart concerto. The soloist this
evening Karen Geoghegan played the Hummel
Bassoon (Grand) Concerto
with the orchestra with which she made her BBC
Proms debut in 2009. Slovak born Hummel represents music at the close of the
Viennese classical era. A student of Mozart and Haydn and an acquaintance of
Beethoven I cannot think of too many composers who had been surrounded by as
much great musical talent as Hummel. The trimmed down BBC Phil played the Hummel
concerto with
compelling elegance and assured nobility. Of a rather serious character the
opening movement was followed by a Romanza of a generally calm and reflective
quality. Satisfying yet taxing the somewhat understated cadenza aptly displayed
the range of the instrument. A buoyant and joyously effervescent Rondo
containing an attractive theme ensured a bold and gratifying conclusion to this
well received score. Clearly working hard in this technically demanding score
Geoghegan enhanced her bourgeoning reputation with a
splendid performance. Signed by the
Chandos label as an exclusive artist in 2007
Geoghegan already has four
CDs under her belt, including a recording of the Hummel bassoon concerto.
Recently commissioned by MusicWeb-International a concerto for bassoon and
string orchestra by Howard Blake is scheduled to be recorded by
Geoghegan this year. I
understand that a
recording of the bassoon concerto by noted film composer John Williams maybe in
the offing.
The best known work of the evening Dvořák’s Symphony No.8 must be a
prized repertoire staple for Günther Herbig conducting without a score no doubt
having performed it numerous times. A native of Bohemia few composers held a
more Nationalistic outlook than Dvořák who loved to integrate the sounds of
nature and folksong into his symphonic music. Engaging and high-spirited in
character the Symphony No.8 written mainly at the composer’s Bohemian
retreat overflows with a fresh bucolic lyricism. Herbig provided an arresting
account drawing spirited and sympathetic
playing from the BBC Phil. Teeming with Bohemian appeal the exciting opening
movement concluded in a jubilant mood. The vibrant brass
demonstrating their understanding of the Bridgewater sonics were always
purposeful but never too strident. Superb playing by the shimmering woodwind
section especially the principal flute and cor anglais who are real talents.
Notable in the pastoral infused Adagio was
the dark rich timbre of the swooning low strings. An Intermezzo
rather than a Scherzo the third movement
contains attractive, richly lyrical
if rather lugubrious
melodies with the strings again excelling. An emphatic trumpet fanfare
introduces the headstrong Finale, a theme and set of variations. A Dvořák
masterstroke is the return of the delightful main theme by the cellos. The
assured Herbig steered the BBC Phil to a drivingly dramatic and memorable
conclusion.
The Bridgewater audience responded enthusiastically to an engaging programme
with vivid performances from the impressive BBC Phil. It would be unthinkable
for Günther Herbig not to return soon.
Michael Cookson
Interviews with Karen Geoghegan
for Music Web are here:
http://www.musicweb-international.com/classrev/2008/may08/Karen_Geoghegan.htm
and here:
http://www.musicweb-international.com/classrev/2009/mar09/Karen_Carla_interview2.htm