Ensemble

A Delight from Start to Finish

MIKE WHEELER is thrilled by Sibelius, Mozart and Tchaikovsky from Benjamin Grosvenor, Andrey Boreyko and the London Philharmonic Orchestra

 

Unlike Sibelius's other symphonic poems, En Saga does not come with a specific story-line attached (or not one he ever disclosed, at any rate). The musical imagery is vivid enough, though, and it drew a keen response from the London Philharmonic Orchestra and conductor Andrey Boreyko, standing in for Karina Canellakis, who had to withdraw for personal reasons - Royal Concert Hall, Nottingham, UK, 28 January 2025. The strings caught the opening tone of active contemplation, as Sibelius pieced his ideas together, as though exploring a landscape. As the music gathered speed, one idea led readily to the next, without the music ever seeming disjointed. After the big but short-lived climax, the episode for five solo strings was a touching moment of withdrawal. Following one more outburst, still, small woodwind voices brought the music softly to its vanishing-point.

Polish-Russian conductor Andrey Boreyko (born 1957). Photo © Michał Zagórny
Polish-Russian conductor Andrey Boreyko (born 1957). Photo © Michał Zagórny

Mozart's Piano Concerto No 21 is in C major, with trumpet and drum parts, which would no doubt have led his contemporaries to expect something grand and ceremonial, but the opening tiptoe march mischievously undercuts those expectations. With a reduced string section, the LPO brought a delightfully fresh, clear sound, well matched by soloist Benjamin Grosvenor's buoyant phrasing and sparkling finger-work. In the second movement, to which the concerto owes much of its popularity, the opening muted violin theme glided over the accompanying steady pulse. Grosvenor's interaction with the orchestra brought moments of rare concentration and stillness. The finale was full of joie-de-vivre, its comic-opera spirit evident even in the darker central episode. The whole performance was a delight from start to finish.

British pianist Benjamin Grosvenor (born 1992). Photo © 2022 Marco Borggreve
British pianist Benjamin Grosvenor (born 1992).
Photo © 2022 Marco Borggreve

Every time I listen to Tchaikovsky's Fourth Symphony, my view of it shifts a little. (This is true of other works, of course, but I'm particularly conscious of it with this one.) Does the opening fanfare, and its subsequent re-appearances, really represent the dead hand of fate, as Tchaikovsky said at one point? Maybe it's more of a protest or confrontation against the idea of fate, and the composer is trying to shake off the whole concept? Either way, Boreyko and the LPO certainly produced a startling thunder-clap to launch their performance. As the movement proceeded, turbulent sections had a pungency that drew out affinities with Tchaikovsky's 'symphonic fantasia' Francesca da Rimini, from which the more lyrical passages provided poignant moments of escape.

The second movement's opening oboe solo – Tom Blomfield – was persuasively phrased, and the air of quiet intensity was later enhanced by quiet trickles of solo woodwind, warm tone from the cellos as they took the spotlight towards the end, and Jonathan Davies' bassoon solo matching that of his oboe colleague for expressive nuance.

Pizzicato strings opened the Scherzo with playing as light as a cork in water, the woodwind were playful in their own section, and made urchin interjections during the brass' clipped march. In the finale, conductor and orchestra didn't shy away from the music's brashness, contrasting with the poignant quotation of the folk song 'In the field stood a birch tree'. I was more aware than ever of Tchaikovsky's skill in harnessing rondo form to a continuing musical narrative, whatever that happens to be in this case. The return of the fanfare left a palpable sense of shock in its wake. Then what? Life re-asserts itself? The merry-making has an added defiant streak? Boreyko and the LPO brought the symphony to an undeniably thrilling conclusion, with both possiblities, and no doubt others, hanging in the air afterwards.

Copyright © 5 February 2025 Mike Wheeler,
Derby UK

-------

 

 << Home              Next review >>