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SEEN AND HEARD UK CONCERT REVIEW
Prokofiev: Suite from "The Love for Three Oranges"
Stravinsky: Capriccio for piano and orchestra
Haydn: Piano Concerto in D, HobXVIII:2
Shostakovich: Symphony No. 6 in B minor, Op. 54
A fascinating mix of composers here, united through a general theme of
"Humour in Music". Different forms of humour were manifested, of course,
from Prokofiev's pithy and spiky vocabulary through to the playful Papa
Haydn (in a piano concerto that really should see the light of day more
often).
The Suite from The Love for Three Oranges contained a whole world
of emotions, not just humour. Jurowski changed the advertised order so as to
conclude with the famous March. Just as memorable as the absurdist moments
were the nightmarish sonorities of "Infernal Scene" and the beautiful sound
the strings regularly made. This was a polished performance, but one that
also included elements of letting go on the part of the players, a
performance where discipline met frivolity.
To follow this with the Stravinsky Capriccio was genius. The
sonorities could hardly be more different - vibrato-less strings and
Neoclassicist tendencies brought a purity to the experience. Ax, who used
music, impressed throughout, be it in the Barqoue-inspired decorations or in
longer, quasi-Bachian lines. While Ax had
disappointed me in Beethoven's "Emperor" concerto in 2005, he seemed far
more in his element here. The fast, spiky and gently quirky finale, which
verged on Stravinskian circus music at times, was a particular delight.
The finest performance of the evening, though, was Haydn's D major piano
concerto, a piece previously favoured by Michelangeli. Wonderful though Ax
was, it is amazing to recount that he was actually outclassed by the polish
of the opening orchestral exposition, which under Jurowski's baton was
deliciously light, fluffy and, most of all, joyous. Ax's articulation was
commendably clean; the deceptively simple lines of the central Un poco
Adagio made their mark, and Ax found pleasure in Haydn's flights of
fantasy. The finale, complete with wonderful bow slapping in the lower
strings, completed the treat famously.
Shostakovich's tripartite Sixth Symphony is a tough nut to crack. It begins
with an extended Largo. The opening is a long, finely etched line for
violins and cellos, powerfully contoured in this instance. Jurowski ensured
that a sense of the cumulative was almost tangible. There were some notable
orchestral solos from the flute, cor anglais, horn and trumpet, but it was
the sense of a huge, bleak landscape that stood out. Play came back to the
fore in the finale after a virtuoso central panel - only the final bars of
the symphony seemed strangely held back, masking their outrageous nature.
Colin Clarke