Straight Classics - Mar 2011
Beethoven, Tchaikovsky, Elgar and Brahms
Slightly intriguing title – particularly with Tchaikovsky on the programme?
The overture was an overture, probably the most ‘operatic’ of the several Beethoven produced for Fidelio, not least with the off stage trumpet. This was a great start to the afternoon with all the revolutionary fervour one could hope for, and what can only be described as a good Beethoven sound. Getting the appropriate incisiveness of attack in wind and strings is often key to making Beethoven sound ground-breaking; Darrell Davison achieved this on Sunday setting us up nicely for the big Romantic concerto to come.
The B flat minor Tchaikovsky is a tough bit of piano playing, and we’ve all heard so many heavily edited CDs that sometimes a live performance can be a surprise or even a disappointment – but we do need to approach the concert hall with different ears and emotions. I don’t know if it was the performers’ intention but I heard the structure as a grand introduction followed by four movements – and it made sense. Soloist Diana Brekalo produced a big sound from the piano, balance with the orchestra was nicely judged at all dynamics and there were plenty of virtuoso fireworks to impress us. Some of the soloist’s tempi were interesting, even capricious, but Davison kept a pretty firm rein and the orchestra were alert, seldom letting ensemble be compromised. Although Tchaikovsky was 35 at the time of writing, this is still a youthful concerto and youthful enthusiasm will always create an exciting performance. [Thanks trombones!]
The subjective nature of the act of listening was brought home very much by the divergent opinions on the Elgar serenade. I thought it was great but after the concert had a tough time persuading a regular audience member that I was right. The sound was exactly what you hope for in this – Elgar famously wrote to his friend Jaeger that this piece was “a really stringy thing” and that’s what it is. The SSO strings were well-drilled but not overly rigid, it had the feeling of chamber music, they were listening to each other and clearly enjoying what was happening – that can’t fail to make the listening a good experience also.
Brahms’ F major symphony sometimes has a bit of a problem in that we don’t get really fast or really slow music, not sufficient contrast; Sunday’s performance seemed to go for a subtlety of sound. There are so many really song–like moments where phrasing and balance are crucial and we found ourselves revelling in these nicely turned details whichever part of the orchestra they came from. The chording in wind and brass, so often so difficult in Brahms, was impeccable – as the tricky last moments demonstrated. The strings having just come from the Elgar were in their stride and seemed to judge well between the classical and romantic sides of Brahms’ symphonic style. A thoroughly convincing performance.
The applause was perhaps a bit muted from a well filled STAG – but I am pretty certain that was the post-prandial malaise that afflicts many matinee audiences; not a reflection on the music-making.
John Hendry
