Romantic Summer - May 2010
Berlioz completed Carnaval Romain just around the time he was putting the finishing touches to his Treatise on Instrumentation so it’s not surprising that it’s so full of colour and orchestral effects – indeed it is a great orchestral showpiece. The SSO gave an alert, lucid performance on Sunday; the quicksilver changes of pace, colour and atmosphere came across with no disruption to the shape or pace of the overture. It’s an almost filmic piece with instantaneous cuts from one scene to another as strings, wind, brass work in rapid antiphony – this was brilliantly handled, and of course there’s that great tune that can’t fail.
As a Victor Meldrew figure behind me said – the Lark’s on classic FM every day. So what a brave choice for Cathy Smart to give us as her 25th anniversary present. Right from the opening note this was magical – it seemed so appropriate that the string section gave the soloist such a warm soft cushion of sound to support the opening. It is undoubtedly a virtuoso piece but the considerable technical demands of the solo part never disturbed of the flow of this rhapsody. Orchestra and conductor were so keen to help in this performance – lovely wind phrasing, and I’ve never heard such luscious pianississimo from the SSO strings. There was plenty of folksong vigour when required from the orchestra and the assured secure technique of the soloist made the lark’s acrobatics easy and joyful as they must be. The relaxed, effortless pace was nicely judged – this was beautifully enunciated chamber music from a group of friends, very moving. [Even Curmudgeonly of Sevenoaks was restricted to one word – fabulous].
Sibelius’ Karelia is perhaps not obvious summer music but this was bright and breezy, with a soft centre; again with nice work from a rather obviously perspiring SSO - particularly sophisticated sounds from the horns and trumpets. Strangely after the delicate water colour nationalism of the Vaughan Williams it sounded rather tub-thumping but this was written to be rabble-rousing – it did its job.
Tchaikovsky’s fourth, whatever the academics say, is a great Romantic symphony, and it got the full treatment from Darrell Davison – leading his players through the ebb and flow of the piece’s moods with a deft hand and a sure sense of the drama. There was a real sense of tight ensemble and unanimity of purpose that made this compelling listening. Quality playing from all departments; sumptuous string sounds particularly in their unison melodies and passage work in the outer movements and in the well-drilled pizz. of the scherzo. From the woodwind; filigree decoration in the second movement and lovely phrasing in the final appearance of that movement’s tune; not to mention the prodigious virtuosity in the fast and loud bits. Brass power and excitement of course but sensitively balanced, musical playing. A typo1 in the programme got me looking at my score and thinking that Tchaikovsky really should have put accelerando round about bar 270 – it was dangerous, electrifying and exactly in the spirit of con fuoco. Great concert.
John Hendry
1 Opus 36
