A great deal of mutual respect obviously exists between
Mackerras and the LPO. This was evident right from the beginning of
this concert, with a well-characterized account of Kodály's 'Háry
János' Suite. The Prelude (subtitled, 'The Fairytale begins')
was intense, with a truly organic feel to the musical argument. Kodály's
glittering orchestration was a delight throughout and it was plainly
(aurally) obvious that the players were enjoying themselves, particularly
in the cimbalom-perfumed 'Intermezzo' and in the parody elements of
'Battle and Defeat of Napoleon'.
Tchaikovsky's First Piano Concerto provided the contrast,
gestures now appearing on a vastly inflated scale. It was interesting
to hear Tchaikovsky Competition Gold Medallist of 1986, Barry Douglas,
again. In the past, he has seemed to be technically blessed from the
Heavens, but often stolid and even unmusical in delivery. It seems that
a reconciliation between technique and musicality is on the cards, however,
with Douglas often moving towards the musical end of the axis. Only
the opening really did not bode well, the orchestra providing plenty
of passion for the famous melody, with Douglas merely plonking out his
chords. Later, he was much more sensitive (especially in the second
movement, where the initial theme was remarkably understated), and his
risk-taking in the first movement cadenza was exciting. Curiously, the
main problem was with some (vital) notes not 'speaking,' indicating
a lack of familiarity with his piano (he also spent some time before
playing working on a maladjusted piano stool, much to the amusement
of the audience: had he actually played on this particular instrument
before he walked on stage?) There was, however, plenty of energy from
both soloist and orchestra in the finale (and I would happily commit
an unseemly act for Douglas' double octaves at the end).
The highlight of the evening, however, was reserved
for Mackerras' interpretation of Dvorák's Seventh Symphony. The
emphasis of the first movement was on structure, underpinned by a firm
and resolute rhythmic momentum. This meant that there was little tempo
let-up: instead, the impression given was one of fierce determination.
The many lovely woodwind solos, the varied emotions of the second movement
and the rustic swing of the third provided the necessary contrast to
the rhythmic drive of the finale, which Mackerras imbued with a powerful
thrust. A very special performance indeed, crowning a highly enjoyable
concert.
Colin Clarke