Evaluation of Concerto Budapest with Angela Hewitt


                                

Angela Hewitt (cr Fotograf Ole Christiansen)

Touring worldwide orchestras are again,
because of the mighty IMG, and the Bridgewater Corridor mustered a small however very
enthusiastic viewers to welcome Concerto Budapest (previously the Hungarian
Symphony Orchestra) and its chief conductor and inventive director, András
Keller, together with Angela Hewitt, the peerless pianist who’s at all times a attract
her personal proper.

The programme supplied to Manchester
(barely totally different from different venues to this point on the tour) had two items full
of folksong and dance and two mainstream classical ones.

Prime of the menu was Kodály’s Dances of
Galánta
– performed for the primary time on the tour however little doubt
bread-and-butter to those musicians again residence. Their string tone is rightly
one thing to be happy with, and the eight celli made an outstanding begin to the piece
(the next string taking part in wasn’t as clear and exact because the Bridgewater
Corridor acoustic actually wants, however it takes a bit time to regulate to it – there’s
an terrible lot of side-to-side resonance on this corridor). The music has one thing
of the sound of conventional ‘gypsy’ bands in it, and by the quick bit close to the top
there have been grins all spherical – they had been having fun with doing it.

Enescu’s Romanian Rhapsody no. 1,
performed after the interval, had a lot of the identical really feel to it (and gave the
percussionists of the orchestra one thing to do: their two harps and a most
self-effacing pianissimo triangle made their delicate contribution).

However earlier than that there was Angela Hewitt. You
might hardly get extra mainstream than Mozart’s Piano Concerto no. 23 in
A serious (K488), and she or he performs it with good old school well-pedalled
smoothness and beauty. The orchestra, too, was suavity personified, and its
principal bassoon had his finest vibrato to indicate off, together with the principal
oboe’s most expressive model, within the second and remaining actions.

Angela Hewitt’s taking part in is fantastically
proportioned and finely calculated. Mozart’s (his personal) first motion cadenza
introduced a flash of drama to the narrative … and I beloved the best way (being a
director-from-the-keyboard herself on different events) she performed the
gamers again into motion herself on the recapitulation. She performed the gloriously
elegiac central Adagio una corda however with some shock emphases to
stimulate the creativeness.

To remind us of her experience in
decoding baroque keyboard music for the fashionable piano, she returned with an
encore within the form of a Scarlatti sonata.

Final there was Beethoven’s Fifth. Strings
had been barely lowered for this (they’d been minimize proper down for Mozart), however
there have been trendy timpani. There was loads of energetic articulation within the
opening motion, and intriguing crescendos on held notes from the wind
gamers. The speeds of the rest had been primarily brisk, although typically
variable in a properly Romantic approach, and the horns and trumpets (three of the
latter, with shared duties on the highest line, to maintain their sound brightly
dominating every part else) made a robust contribution.

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