Top of their game...

Maestro at work: Simon Rattle & the Berlin Phil

WAGNER, SIBELIUS & RAVEL

Berliner Philharmoniker, Sir Simon Rattle

BBC Proms, 30 August 2012

Simon Rattle and the Berlin Philharmonic are always a big draw when they're in London, and this concert was certainly no different.  Tickets were speedily snapped up and prommers queued for hours outside the Royal Albert Hall to experience the acclaimed conductor in action.

The audience were jostling with nervous excitement as the orchestra stepped on stage, but a calmness fell as the first notes of Ligeti's Atmosphères reverberated around the huge hall.  It is a piece which evolves through a series of shifting sound clusters, giving the impression of simultaneously moving forward and staying still.  The tones and timbres melted into one another beautifully, making for a wonderful listening experience.  That feeling was conveyed into the next piece, the Prelude to Act I of Wagner's romantic opera Lohengrin, as Rattle moved seamlessly between works, without stopping for applause.  The orchestra radiated a real warmth throughout, especially from the strings and horns.

Next up was Sibelius' Symphony No. 4 — an unconventional interpretation of the traditional four-movement structure, which was written in 1910/11 as the threat of war loomed over Europe.  Although this is regarded by some as Sibelius' greatest work, it isn't as popular in the concert hall, and it soon becomes clear why.  The music has a darkness about it and even though it was played brilliantly, a sense of melancholy lingered in the air.

The mood changed after the interval, as the Berlin Phil returned with some lively French music, starting with Jeux (Games) — Debussy's last orchestral work, originally intended to accompany a ballet.  Rattle appeared entirely comfortable, conducting from memory, and the players responded by bringing out the piece's playful nature.

However, they saved the best until last with Ravel's ballet music Daphnis et Chloe (Suite No. 2).  Rattle seemed to glide over the orchestra, arms outstretched, as the fiendish wind parts rippled over the top of rich harmonies. The piece showcased the abilities of both orchestra and conductor, making it easy to understand why they are lauded the world over — together, they are mesmerising.

INTERESTING FACT: Simon Rattle conducted the London Symphony Orchestra at the Opening Ceremony of the London 2012 Olympics, with Rowan Atkinson on the keyboard as his comedy alter-ego, Mr. Bean.

Russian reverence...

Scarily good: Valery Gergiev

SHOSTAKOVICH & GUBAIDULINA

LSO, Valery Gergiev
Barbican, 27 November 2011

It is always a pleasure to see Valery Gergiev returning to his roots with an all-Russian programme.  This time, he was conducting Sofia Gubaidulina's In tempus praesens (In the present time) and Shostakovich's Symphony No. 10.

Anne-Sophie Mutter looked radiant as she took to the stage for In tempus praesens – Gubaidulina's second violin concerto, dedicated to Mutter.  The 30-minute single-movement work presents the audience with an extraordinary sound world: an orchestra devoid of violins (except the soloist) yet enhanced by a harpsichord and a variety of percussion instruments - including a giant gong, which leaves your ears ringing every time it's struck.  Mutter showed skill and dexterity, particularly in the cadenza, which was played magnificently.


Gergiev and the orchestra really seemed in their element in the second half.  The first movement of Shostakovich 10 was filled with passion and pathos, while the fiery second movement was never in danger of rushing with Gergiev on the podium.  The brass section were on fine form throughout the work and there were some achingly beautiful solos from the woodwind (including a brilliant piccolo duet).  The piece built in dramatic tension through the eerily upbeat third movement to a breathtaking finish at the end of the fourth.  A masterful performance from Gergiev and the LSO.

INTERESTING FACT:  Shostakovich was a football fanatic.

The Beethoven enigma...

BEETHOVEN SYMPHONIES 2 & 5


Gewandhaus Orchestra Leipzig, Riccardo Chailly
Barbican, 25 October 2011


It's remarkably difficult to perform Beethoven well.  However, conductor Riccardo Chailly claims the Leipzig Gewandhaus have a "secret code" which allows them to get to the heart of his music.  They don't always appear to fully unlock this power though.


They kicked off their International Associate Residency at the Barbican with a rather polite performance of Beethoven's Second Symphony.  The opening chords could've done with a bit more oomph and the woodwind section were slightly out of tune, but overall the first movement was well executed.  The rich string sound came through in the slower second movement, but the scherzo which followed took a while to reach a comfortable tempo.  The fourth movement went at quite a lick, providing the audience with a rousing finish.


The orchestra really went up a gear in the second half of the concert.  They performed Ritratto di musico (Portrait of the Musician) by Carlo Boccadoro - a work specially commissioned by Chailly to precede Beethoven's Fifth Symphony.  With its spirited timpani part and emotional outbursts, the piece was an excellent premonition of the music to come.  And the moment the Leipzig Gewandhaus played those famous opening notes from Beethoven's Fifth, the audience were putty in their hands.  The musicians felt totally at ease with the music, bringing out the beautiful harmonies and melodic lines with finesse.  At last the elusive "secret code" was finally revealed.



INTERESTING FACT:  The Gewandhaus Orchestra Leipzig performed all Beethoven's symphonies within the composer's lifetime.

Put your hands together...

STEVE REICH AT 75

LSO, Kristjan Järvi
Barbican, 15 October 2011


What better way to start a blog than with a musical milestone... Steve Reich’s 75th birthday concert at the Barbican.


The composer himself turned out for the celebrations, taking to the stage in his trademark baseball cap to perform his 1972 hand-clapping duet Clapping Music.  Reich made the relentless rhythmic drive look effortless, but the intense concentration etched on the face of his duet partner Neil Percy told a different story.  As the short work came to a close, it was followed - rather ironically given the title - by rapturous applause.


Once Reich had left the stage all eyes were on Kristjan Järvi, who took to the podium to conduct two orchestral works - The Four Sections and Three Movements.  Despite being wedged between two pianos, percussion and speakers, Järvi skilfully held both pieces together, while the LSO players imbued the music with unbridled energy.


After some last-minute practise during the interval, the orchestra returned to the stage for The Desert Music - bolstered by singers from Synergy Vocals.  The eighties work felt as fresh as ever thanks to the glorious unfolding harmonies and a polished performance.  From the glittery tops of the singers to the blurring mallets of the percussionists, the piece was mesmerising.


As the music came to an end, Reich returned to the stage for a bow with the orchestra - receiving cheers, applause and a standing ovation from the audience.  A fitting end to a delightful 75th birthday bash.

INTERESTING FACT: Steve Reich used to be a taxi driver.