I suppose we should no longer be surprised when a supposedly provincial
orchestra such as this from Denmark's third city produces a recording of
such quality. Certainly I can hear no deficiency in any department and the
sonics here are so clear that were there any in two live performances such
as these, they would be immediately apparent. The concerts are directed by a
very experienced Russian conductor who has spent a lot of time in the UK
working with British orchestras and has a long-standing arrangement with the
Odense Symphony as their most frequent guest conductor. The young,
Juilliard-trained Korean pianist Joyce Yang joins them for the concerto. It
is a fine performance, although given the number of first-rate recordings of
that warhorse now available, I am most attracted to this recording by the
superb performance of
The Tempest. It is the least played of
Tchaikovsky's symphonic poems after
Hamlet and although I can
understand why the latter is neglected, I am never sure why
The
Tempest should share that fate.
I am predisposed to like any music inspired by Shakespeare and find that
Tchaikovsky has indeed captured some of the metaphysical grandeur of the
play. There is another recording of the work by Svetlanov on the
super-bargain Regis label but this one from Bridge is subtler and in better
sound. The opening is as arresting as any sea music I know, standing
comparison for atmosphere with works by Mendelssohn, Debussy, Sibelius and
Bax and sharing some of the tricks they employ to suggest the majesty of the
ocean. A favourite device is to use a repetitive, keening motif to evoke the
endless swell of waves. Tchaikovsky creates magic and mystery with an
ostinato figure on
divisi strings which modulates through a
succession of keys, creating a misty wash of sound suggestive of air and
space. The succeeding stern brass motif representing Prospero is beautifully
played and all in all the Odense players give a real virtuoso display.
The concerto is equally skilfully performed, although the big-boned
opening is not complemented by Yang's gentler, more under-stated execution
of the famous crashing chords which form the first "Big Tune" subject and
are never heard again. Perhaps she is intent upon avoiding the Big Beast
approach of such as Pogorelich or Van Cliburn, but there is no lack of
energy or attack in her playing subsequently. She is wonderfully fluent and
very delicate in the Andante, the Odense flute, oboe and viola soloists ably
supporting her, in perfect harmony with her poetic demeanour. She concludes
with a confident, rollicking
Prestissimo to cap a very satisfying
performance, unmarred by audience noise and only very lightly punctuated by
the occasional emphatic grunt and groan from the pianist.
This is slightly short measure at under an hour but the quality of the
playing and engineering disarms complaint.
Ralph Moore
Masterwork Index:
Tchaikovsky
piano concerto 1
