On this disc we have the bulk of a concert given by Svetlanov
during a rare appearance with the BBC Symphony Orchestra - the
item that’s omitted was a Prokofiev piano concerto. Svetlanov
was particularly good in music from his native Russia and the
music included here plays to his strengths.
The colourful nature of Ravel’s celebrated orchestration
of Mussorgsky’s piano work is brought out very well. Some
may find the opening ‘Promenade’ a touch brisk -
here it seems like a purposeful walk up to the front door of
the gallery - but some of the characterisations that follow are
very sharply edged, not least a sinister, grotesque ‘Gnomus’. ‘Bydlo’ plods
lugubriously across the Steppes, rising to a potent climax and
the portrait of ‘Samuel Goldenberg and Schmuyle’ is
painted with a broad but effective brush, though the muted trumpet
solo doesn’t sound to be perfectly tuned. Perhaps not surprisingly
Svetlanov builds ‘The Great Gate of Kiev’ to an imposing
climax with a large church bell clanging most effectively. The
very final chord, suitably gong-drenched, is unusually sustained;
we’re definitely in the world of
Boris Godunov here.
Not all is power and grandeur, however. Svetlanov leads a nicely
turned account of ‘Tuileries’ while both ‘The
Market at Limoges’ and ‘The Ballet of the Unhatched
Chicks’ are lively. I’ve heard more subtle accounts
of
Pictures but I’ve also heard many that are nowhere
near as involving. This is a successful and enjoyable reading
of the work.
It’s good to hear Respighi’s inventive and sympathetic
orchestrations of two of Rachmaninov’s piano
Études-Tableaux -
he orchestrated five of these pieces in all - and Svetlanov does
them with affection and no little feeling.
But though
Pictures at an Exhibition was positioned, presumably,
as the climax to the concert I rather feel that the best comes
first. I can’t recall hearing a better account than this
present one of Rachmaninov’s brooding, intense tone poem,
The
Isle of the Dead. It’s an expansive reading
but Svetlanov controls the performance masterfully and fully
justifies his broad conception. In his booklet note Colin Anderson,
who was present at the concert in question, refers to the performance
as “daringly epic” and adds this: “This gripping
London version - of implacable tread, lugubrious expression and
darkness of tone - is unflinching in its emotionalism and dramatic
sureness.” That says it all, really. I’d add only
that the extended, impassioned climax is beautifully prepared
and, when it arrives, is impressively sustained. For me this
great performance, which possibly could not have been emulated
under studio conditions, is worth the price of the disc.
Throughout the programme the BBC Symphony Orchestra responds
to Svetlanov’s direction with commitment and intensity.
The playing isn’t flawless - there are a few ragged edges
caused, no doubt, by unfamiliarity with Svetlanov’s technique
- but these small blemishes are scarcely noticeable when set
against the sweep and the often-thrilling nature of the music
making.
I hope that BBC Legends may now be able to negotiate the rights
to issue, as a follow-up to this fine release, the performance
that Svetlanov gave with the BBC Symphony of Rachmaninov’s
The
Bells in April 2002. That was his very last concert and by
all accounts it was a very special performance. But, then, this
present reading of
The Isle of the Dead falls into
the same category.
John Quinn
Masterwork Index: All reviews of Pictures
at an exhibition
BBC Symphony Orchestra/Evgeny Svetlanov 
