London Philharmonic Orchestra, Andres Orozco-Estrada, Inon Barnatan
Royal Festival Hall, 27th October 2017
- Beethoven – Piano Concerto No 5 “Emperor”
- Shostakovich – Symphony No 7 “Leningrad”
Off to the Festival Hall for a couple of big beasts of the repertoire (or at least the repertoire I like). Yet I have to say that, in both cases, the interpretations were a little too polite and not quite the emotional body slams they can and should be.
This was the first time I had heard the LPO under the baton of guest conductor Andres Orozco-Estrada and the first time I had heard soloist Inon Barnatan. There is no point fiddling about in the first movement of the Emperor. Beethoven cuts to the chase pretty quick with a marchy rhythm with a little melodic twist and the two note theme which gets played with in the development. It is all pomp and show and Mr Barnatan with his bright expressive playing had the measure of the beast. The adagio and dancey rondo allegro require a greater connection with the orchestra, notably woodwinds, which was satisfactorily wrought but without real fireworks for me. Still much to admire.
On to the Shostakovich. Now even by DS’s “tombstone” symphony standards this is an absolute monster. You all know the story of its genesis. Written as the Nazi forces encircled the city, with DS pitching in as a fireman, premiered in Kuibyshev in March 1942, score smuggled out for performance in London and then New York, and apparently defiant testament to the heroism of the Soviet people, this is music as history. I know that there is a case for this to be a “requiem” for those who died at the hands of their own Government as well as the invader. But to me it sounds like a straight programmatic account of the war in the East with the ominous drum roll of the first movement giving way to the ghostly dance of the scherzo, the extended despair of the slow movement and the victory march of the finale (albeit tinged with pain for all those lost to the carnage).
Now it does go on a bit. It is easy enough to build tension in the first movement with the trite rat a tat tat of the side drum building to a climactic racket and the scherzo does its stuff as all DS’s scherzos do. But keeping the whole edifice alive through the outer parts of the third movement and first half of the final movement (both clock in at 20 minutes) is tricky and needs a bit of sludge and shaken up tempi I reckon. Percussion, brass and woodwind ticked the boxes but the strings were just a bit too Mahlerian for me.
Overall then I had hoped for a little bit more. Any rendition of the 7th is going to have some, shall we say, opportunities for lapses of concentration, and maybe I needed to try harder, but I have heard better. Mind you the young fella next to me was even more underwhelmed. Having bragged to his mates/colleagues before the piece, and during the inordinately long pause/hubbub after the first movement, he promptly dropped off until the applause kicked in. Maybe not the best choice after a long day at work but hopefully he caught up on his zzzz’s.