United Kingdom Various: Sol Gabetta (cello), BBC Symphony Orchestra / Dalia Stasevska (conductor). Barbican Hall, London, 21.10.2022. (KMcD)
Iain Farrington – A Party with Auntie
Dai Fujikura – Glorious Clouds
Elgar – Cello Concerto in E Minor
Sibelius – Symphony No.1 in E minor
After a Total Immersion weekend devoted to Finland’s most well-known musical son just a few weeks in the past, the BBC SO was again with extra Sibelius beneath its Principal Guest Conductor, Dalia Stasevska. Being Finnish herself, it can come as no shock to study that this music is in her blood, which was evident as she guided her gamers via an engrossing account of his First Symphony. Often thought-about to be a pure descendent of Tchaikovsky’s symphonic writing, there are occasional musical nods to his fashion, Sibelius’s soundworld is one which unmistakably depicts a panorama of forests and fjords.
Stasevska by no means allow us to neglect this – from the atmospheric, hushed opening on the timpani, over which a lone clarinet supplies a poignant, chilling lament (fantastically voiced by Richard Hosford), to the dramatic theme on the strings – she charted a course all through the primary motion that was propulsive, but by no means sacrificed element. In the second motion, which is the one that’s most redolent of Tchaikovsky, she conjured a way of ethereal appeal and delicacy.
The Scherzo, with its repetitive, seven-note theme for the timpani (immaculately dealt with by Paul Stoneman) had immense chunk, in addition to colossal guts and drive. Similarly, the final motion, from its anguished opening to its nihilistic conclusion, was faultlessly paced, and fantastically performed. Maybe a few Stasevska’s tempo decisions erred on the facet of warning earlier on within the piece, however regardless of this minor quibble, the general impression was fairly devastating – the silence after the music had pale into nothingness spoke volumes.
The first half of the live performance was made up of three contrasting items, one in all which was a late addition to the programme – Iain Farrington’s A Party with Auntie – which was scheduled to obtain its premiere on the Last Night of the Proms. A musical homage to rejoice the one hundredth anniversary of the BBC, Farrington’s witty romp which blended a collection of tunes from a number of the broadcaster’s extra iconic exhibits actually had aptitude and displayed a lot technical compositional wizardry. Imagine a musical model of Leonard Bernstein ordering a pint within the Queen Vic and you wouldn’t be far off the mark. We noticed Animal Magic, Match of the Day, The Antiques Roadshow and EastEnders whirling their means via the counterpoint. This five-minute journey down reminiscence lane actually put a smile on everybody’s faces.
We have been then handled, if that’s the proper phrase, to the UK premiere of Dai Fujikura’s Glorious Clouds, impressed, in accordance with the programme notes, by the Japanese composer’s fascination with microbiomes – collections of micro organism, viruses and fungi on or within the human physique. An fascinating foundation for a musical composition, the work was made up of some telling blocks of harmonic development, however like so many new works, there was far an excessive amount of reliance on string glissandi. After Last Days at The Royal Opera earlier within the month, which was overflowing with them, composers would possibly think about giving them a relaxation for some time. Despite this, the BBC SO performed the advanced rating unflinchingly.
Sol Gabetta was the soloist in Elgar’s Cello Concerto, and usually delivered an impassioned and immaculate interpretation of what’s arguably one of the vital in style cello concertos within the repertoire. Once previous some hesitancy at first – each she and Stasevska appeared reluctant to get beneath the pores and skin of this nice work – her enjoying blossomed and the synergy between the 2 of them was palpable. Did she handle to mine all of the emotional aspects of the work? Maybe not, besides that didn’t detract from a efficiency that highlighted her very good approach and formidable interpretative powers.
All in all, this was a massively gratifying night – made memorable by an amazing efficiency of Sibelius’s First Symphony.
Keith McDonnell