The programme notes open with a message from the conductor/pianist Andras
Schiff and – in the context of this Klemperer-like programme – is worth
quoting in full:
"Otto Klemperer’s recordings with the Philharmonia
Orchestra of masterpieces by Bach, Mozart, Beethoven, Haydn and others
have been a revelation and inspiration to me since my teens. Today,
I admire him even more. His humanity, razor-sharp intellect, sense of
rhythm, and grasp of form and structure are always in the service of
the composer and of the work. He thinks and feels like a composer. In
an age of overblown conducting stars, his lack of ego and vanity is
all the more remarkable. We must always remember him as a monumental
musician."
Andras Schiff’s direct, ‘classical’ reading of Beethoven’s
Coriolan Overture was indeed conducted in the manner of Klemperer:
measured tempi, taut rhythms, a clarity of orchestral textures coupled
with an architectural grasp of structure. However, what was lacking
was Klemperer’s strong sense of establishing a dark, weighty bass-line
(so essential in Beethoven’s scoring). This may have been due to the
mere four double basses which were placed at the back of the platform
divided by the timpani in the middle. Both the ‘cellos and basses were
barely audible and often the woodwind were not pointed enough. The Coriolan
is arguably the most difficult of Beethoven’s overtures to conduct (and
even Toscanini confessed he had always had trouble with it) but Schiff
rose to the challenges presented by this piece magnificently, especially
the difficult closing passages, aided by Andrew Smith’s usual vigorously
intense timpani playing.
The rarely played Schubert 4th (‘Tragic’)
Symphony in C minor is misconceived as a ‘light’, delicate piece of
chamber-like intimacy: nothing could be further from the truth. Written
when Schubert was 19, this is nevertheless a ‘mature’ work and points
towards Schubert’s Great C major Symphony in its melancholic
darkness and stark grandeur.
In the slow introduction – Adagio molto - Schiff
caught this sense of Sturm und Drang, with fully realised pathos,
before leading seamlessly into a vivacious Allegro vivace. This
Schiff conducted with great urgency and great momentum. What was at
fault was the rather recessed and unfocused woodwind playing, as well
as the barely audible trumpets. Sitting centre stalls very close to
the stage I noticed that Schiff never glanced over to the trumpets throughout
and maybe this is why they never seemed to be an intrinsic part of his
performance. While the Andante was well paced it often sounded
rhythmically slack and again the woodwind lacked focus. The third movement
– Menuetto: Allegro vivace - lacked urgency, energy and attack;
the opening should sound menacing and manic rather than slack and limp.
The very important woodwind parts yet again lacked clarity and incisiveness
and in the lyrical passages, Schiff indulged in unnecessary slow tempi
which just sounded mannered.
The Allegro was conducted with greater precision
and weight, with some mordant timpani playing from Andrew Smith who
shone throughout this rather string-oriented performance. While Schiff
generally conducted this symphony sensitively and sympathetically he
tended to tone down the horns, trumpets and woodwind making it sound
like a symphony for strings (and timpani). Listening to Klemperer’s
tough and grainy performance of Schubert 4th Symphony with
the Concertgebouw Orchestra (2nd February 1957) makes one
realise straight away how very light-weight and effete the orchestra
textures were under Schiff.
The rather short second half was devoted to a spellbinding
performance of Beethoven’s Third Piano Concerto in C minor with Schiff
conducting from the keyboard. Here the Philharmonia suddenly took on
a new lease of life: they just seemed somewhat more involved: the dialogue
between pianist and orchestra was perfectly realised throughout. In
the opening passages of the Allegro con brio, Schiff stood up
to conduct, again without a baton, and drew playing from the woodwind
of a quality so lacking in the Schubert.
Schiff’s own playing is in a class of its own, and
defies easy analysis. His playing had a shimmering quality, totally
lacking in affectation, being more concerned with the actual notes rather
than special effects. It was wonderful just watching his delicate hand
gestures whether conducting or playing the piano. What was striking
about this movement was the incisive interaction between pianist, woodwind
and timpani which created great tension. The Philharmonia were deeply
sensitive to Schiff’s shifting moods, and yet again it was Andrew Smith’s
assured timpani playing that gave this movement even greater power.
The Largo was profoundly played by Schiff and
the orchestra in a melancholic haze before the Rondo Allegro
shifted gear, with pianist and orchestra taking on a genial energy and
unbuttoned humour; Schiff’s playing here had a particularly playful
lilt to it; he also realised the taunting dialogue between the military-style
punctuations of brass and timpani with the piano to perfection. This
majestic performance ended with a power and an intensity which brought
the house down. Indeed, I am sure this superb performance would have
got a gruff nod of approval from Klemperer himself.
For an encore, Schiff played an excerpt from a Schubert
piano sonata played in a dark and fragmented manner worlds apart from
Beethoven, demonstrating this pianist’s versatility. Andras Schiff showed
an appreciative audience that as well as being a magnificent pianist,
he is a gifted conductor.
Alex Russell