The opening of Vaughan
Williams’ second symphony starts unpromisingly
with an electronic hum in the right
channel. Having made sure this wasn’t
a problem with my own equipment, and
finding it present on the second disc
as well, I have to assume this to be
a technical fault from the original
master. Having noticed it, you can hear
it filling the pauses in that serene
and beautiful opening, which is so well
played by the MSO – a great shame.
Never mind. Like most
low-level nasties, this hum is soon
drowned out by the orchestra and seems
to have disappeared by the end of the
first movement. I have come to anticipate
a high standard of performance in this
series, and this is no exception. The
Melbourne orchestra is a powerful and
flexible instrument, and wends its way
admirably through the dynamic twists
and turns of the first movement. The
balance is not quite as good as some
of the other recordings I’ve heard however,
with the strings as good as drowned
out by the brass in the loudest of tuttis.
The second Lento
movement is eloquently portrayed
– the slow, modal progressions anticipating
the Tallis Fantasia and violin
solos The Lark Ascending. Bustling
street activity opens the third movement
Scherzo, with robust English
quirkiness coloured with subtle, Ravel-like
touches of orchestration. The tidal
waves of sound which open the final
Andante con moto promise a spectacular
ending, and indeed the high standard
of playing is maintained throughout.
This is a performance which can hold
its own with the best, and if it only
misses the last ounce of monumental
solidity from Previn or sonic refinement
from Hickox or Handley, then it certainly
wins out over the now rather dated sounding
Boult recordings.
There is no shortage
of Chopin concerto recordings on the
market, and having been spoilt with
the likes of Pires and Argerich the
soloist here, Ewa Kupiec, has much to
live up to. It is also interesting to
hear the MSO function as an accompanist,
which they do with a light and capable
touch – the occasional dodgy horn entry
excepted. Kupiec plays with effortless
technique and lyricism, extracting all
of the desired Chopinesque poetry and
expression from the score. The ‘hum’
is back just in time to provide a little
distraction in the beautiful second
movement. I especially like the way
Kupiec sometimes allows the piano to
sink almost into the texture of the
orchestra, permitting herself a true
pianissimo instead of the usual
pianissimo (solo) which usually
just amounts to a boring old mp.
The Rondo finale is suitably
lively and true to its Vivace marking
– a very enjoyable account.
Our old friend the
right-channel hum is back to infect
the atmospheric opening of Dukas’ famous
‘Sorcerer’s Apprentice’. The MSO brass
comes into its own here, snarling and
vituperative from the outset. Christopher
Seaman’s tempi are good – neither too
stodgy for lively vibrancy or too harum-scarum
for the detail in the orchestration
to come through. The winds are good
too, and I love that unctuously leathery
contrabassoon sound. With the orchestra
in full flight there is however that
slight imbalance to the disadvantage
of the strings which I noticed in the
Vaughan Williams.
This is a worthwhile
and entertaining issue. Live performances
are almost always to be welcomed in
my view, and the whole ‘MSO Live’ series
provides us with some potent glimpses
into some of the world class music-making
which goes on in Australia. It’s a shame
about that electronic fault, but don’t
let it put you off too much – it has
no more effect than the occasional cough
in these vivid and memorable performances.
Dominy Clements
Ewa Kupiec (piano) 
