Assessment of Hallé live performance twentieth February 2020

It takes an enormous pianistic persona to
make Rachmaninov’s second concerto sound recent and totally different, however Boris
Giltburg has that persona – and the power to go along with it.

His enjoying of it with Sir Mark Elder and
the Hallé was arresting from the very first word – the bass performed as a type of
clear grace-note to the primary chord, with the system repeated, at various
velocity, on virtually each subsequent one in that crescendo sequence – which made
all of it sound fairly menacing.

That was adopted by an emphatically
ponderous manner (at first) with the primary theme which will have stunned even the
accompanying orchestra a bit of. However that’s the best way Boris likes it: deep and
soulful within the massive themes and dazzlingly good within the helter-skelters. It
sounds very Russian (he’s Israeli however born in Moscow) and maybe a bit flash –
however Russian music wants that factor, too. Gloomy, lovely and gorgeous all at
the identical time.

The Hallé’s wind principals made some
very good contributions of their solos – Sergio Castelló López’ clarinet in
specific at this stage, and within the second motion Amy Yuletide’s flute additionally: it
was right here that the tempo flowed way more easily and constructed feeling much less
hysterically. The orchestral particulars have been superbly articulated below Sir
Mark’s route, and with the violins, led by Eva Thórarinsdóttir, evoking
expression and sustaining the temper to the very finish.

The finale was each bit as impactful as
the opening, with surging momentum and critically scary tempo by the tip. Boris
Giltburg (who undertook the task of this live performance at brief discover in place
of Alexander Gavrylyuk) has constructed an enormous repute enjoying Rachmaninov, and
this efficiency confirmed why. His method is rarely routine and presses the expressive
energy of the music to its restrict – one thing his viewers appreciated and beloved.

In addition they certainly appreciated the serene
equilibrium and rhythmical alertness of Sir Mark’s studying of Ravel’s Le
Tombeau de Couperin
in its 4 contrasted actions. The smaller than full
string physique gave it crispness in addition to a wealthy sound, the oboe (Stéphane Rancourt)
and cor anglais (Thomas Davey) solos have been eloquent, and there was a beautiful
burst of deep feeling from the strings within the Menuet reprise, whereas the ultimate
Rigaudon was each bouncy and poised.

Full forces have been on parade for Prokoviev’s Symphony
no. 7
. It’s an ambiguous piece – superficially easy and tuneful,
however with little touches of foreboding and unease (maybe essentially the most a great
Soviet citizen felt he may say whereas Stalin was nonetheless alive). However the opening
has a tinge of Shostakovich’s starkness, and the film-score-ish writing that
follows is upended by spiky jollity. Even the ‘circus’ music of the final
motion, although enjoyable, comes close to to irony, and the solemnity that ensues sounds
virtually like sarcasm. Sir Mark and his gamers made the orchestral sound glitter,
however have been at all times alert to the sombre tones additionally within the combine.

Sir Mark Elder


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