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SEEN AND HEARD UK
CONCERT REVIEW
Borodin : Polotsvian Dances (Prince Igor) (1869/1887)
Shostakovich : Violin Concerto No.1 in A minor, op.77 (99) (1947/1948)
Tchaikovsky : Symphony No.5 in E minor, op.64 (1888)
Following the London Phoenix Orchestra's fine
performance of Borodin's Second Symphony last
night, I welcomed this performance of what is probably
his most famous work; and what a colourful and
exciting performance it was. The tunes are all well
known, mainly through their inclusion in the musical
Kismet, and the scoring is clear and precise,
the work being a positive affirmation of good feeling.
Sokhiev directed a spirited and forthright performance
of these delightful dances and the orchestra indulged
in the most extrovert and unabashed display of
virtuosity. It made a very satisfactory start to the
show, and a perfect foil for the brooding intensity of
Shostakovich's First Violin Concerto,
which followed.
Sergey Khachatryan proved himself to be a
perfect soloist, alert to the various moods of this
great concerto and revealing some of the private
thoughts contained therein. The Nocturne was
full of dark thoughts, and soloist and conductor held
the music back, allowing the argument slowly to
unfold. The Scherzo was swift and quicksilver
with a marvellously controlled violent outburst in the
middle. Shostakovich's version of the Passacaglia
is nearer to a chaconne in form, and closer to a
fully-fledged Adagio in feel. As with the
first movement, both soloist and conductor managed the
darkness of the music and brought about a variety of
colour and interest during the various repetitions of
the passacaglia theme. A long cadenza joins the slow
movement to the finale, and Khachatryan handled
magnificently the change of mood from slow to fast.
The final Burlesque burst out in all its
gaudy brilliance, bringing the work to a brilliantly
satisfying conclusion. Khachatryan
After the interval we were given an unashamedly romantic performance of Tchaikovsky's Fifth Symphony. Sokhiev drove the first movement and even in the most lyrical moments never allowed his tight grip on the music to falter. This was as thrilling as one could wish for and it was tempered by a slow movement which revelled in its glorious tunes - special praise here for principal horn Nicolas Fleury - and rich orchestration. But there was drama a-plenty when it was required and Sokhiev balanced the various sections with aplomb. The third movement waltz was given with a light touch and the finale was all fire and vivacious spirit, culminating in an electrifying coda. The Philharmonia was on top form throughout and the whole show was memorable for its intensity, bravura and great good feeling.
Bob Briggs