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SEEN AND HEARD UK CONCERT REVIEW
Grieg: Last Spring
Kalevi Aho: Symphony No.15
Tchaikovsky: Variations on a Rococo Theme
Rimsky Korsakov: Scheherazade
At the pre-concert talk we were told how the touring BBC Philharmonic
Orchestra was caught up in the recent Japanese earthquake. It seems that
they only had their instruments returned from the airport the day before
this concert owing to high radiation readings. Out of respect for those who
sadly lost their lives in the Japanese earthquake and tsunami the orchestra
played Last Spring, Grieg's short elegiac lament for strings a nd
the second of his Elegiac Melodies.
Conducted by Juanjo Mena the BBC Philharmonic Orchestra's chief conductor
designate, the concert was being recorded by BBC Radio3 for future
broadcast. Forming part of the BBC Philharmonic Orchestra's Journey
Through Music scheme this was one of a series of concerts aimed at
giving young people a taste of orchestral music.
In terms of repertoire I'm not sure what younger audience members would have
made of the opening work, Kalevi Aho's Symphony No.15 (2009/10).
Receiving its world première performance here the symphony was a joint
commission with the Lahti Symphony Orchestra. This substantial score lasting
just over half an hour in performance has been described by Aho as 'the
apotheosis of the dance' in deference to the influence of Beethoven'sSeventh
Symphony. Aho has subsequently given descriptive titles to the
symphony's four movements: Nebbia (Mist/Haze); Musica
bizzarra (Bizarre music); Interludio (Interlude) and
Musica strana (Strange music). Immediately approachable,
the symphony holds the attention and contains much impressive writing.
Predominantly uplifting in character the score just bubbles along with
remarkable reserves of energy. My enduring impression is of a highly
rhythmic and colourfully exhilarating score, often with an exotic Middle
Eastern character and punctuated with liberal use of percussion much of
which is for hand drums. It must have been an emotional occasion for Kalevi
Aho who at the conclusion of the score came onto the stage to enthusiastic
applause.
It is always good to hear cellist Alban Gerhardt in performance. Radiating
calm assurance Gerhardt makes his playing seem so effortless. Written in
1876 Tchaikovsky's Variations on a Rococo Theme is a much loved
score, a staple of the cello repertoire. A homage to Mozart the score of
masterly and elegant construction commences with a short Rococo
style dance theme similar to a gavotte with seven variations.
Gerhardt displayed complete command with playing of eloquence and refinement
reinforced with an inherent concentration. Eminently suited to the acoustics
of the hall the soloist's Mateo Goffriller cello has a lovely mellow tone. I
enjoyed the passage for the golden horn solo over pizzicato strings
that commenced the score. Lovely yet sombre the third variation was a
highlight, as was Gerhardt's practised excellence of the final variation
Coda. It's easy to see why this Tchaikovsky score is such a favourite
with soloists and it certainly made an appealing and undemanding listening
experience for the audience. Somehow it felt that Gerhardt needed something
meatier to get his teeth into, such as Prokofiev's comparative neglected
Sinfonia Concertante (Symphony-Concerto).
Compatriots Tchaikovsky and Rimsky-Korsakov may have embodied different
schools of composition in Russia but their friendship was a close if an
often uneasy one. Certainly their primary compositional commonality is their
immense talent for orchestration. A perennial favourite, Rimsky Korsakov's
symphonic suite Scheherazade (1888) overshadows all of his other
orchestral works in the concert hall. The composer was inspired by the
wondrous Arabic folk tales of the One Thousand and One Nights (or
The Arabian Nights) as related by the enchanting Sultana
Scheherazade. To serve as a guide to the composer's thoughts the four
movements or Tales were given thematic titles. Maestro Mena certainly showed
his mettle in Rimsky-Korsakov's kaleidoscopic and intoxicating Persian
odyssey. Though not an overly demonstrative conductor, the unflappable and
supremely confident Mena gets on with the job communicating in his
unpretentious way. The key here is to generate significant reserves of
energy and provide mountains of warm colours without fear of overloading to
any dangerous degree. Underpinning the spicy score the string section,
especially the low strings, were as durable as any Arabian dhow with the
high strings providing a light and smooth magic carpet ride. To my ears the
luxurious woodwind was as tightly woven as any high quality Persian rug.
With the ripe pungency of an Arabian bazaar the brass exuded a wonderful
aroma. There was still time to salute impressive individual contributions
with the leader sensitively depicting the heroine Scheherazade while the
sparkling oboist, clarinet and bassoon principals wore only the finest
quality Persian slippers. Without having to resort to rubbing a
magic lamp for assistance maestro Mena, in total control, impressively
punched out Rimsky-Korsakov's vivid climaxes.
Under Juanjo Mena the BBC Philharmonic Orchestra is in safe hands. The
audience cheered an often delightful and most rewarding concert.
Michael Cookson