Photo, Mark Allan
Saturday, August 12, 2023
Royal Albert Hall, London
An atmospheric account of the Overture to Der Freischütz (Weber condensing his opera into ten minutes of orchestral theatre) got the concert off to a suggestive and dramatic start (forest-legend horns, romantic clarinet); musically articulate, too, the BFO in fine form, Iván Fischer leaning into the ensemble he co-founded forty years ago. A smudgy first entry from András Schiff didn’t bode well for Schumann’s Piano Concerto, although, occasional awkwardness aside, his was a clear-sighted reading of the solo part, the antithesis of indulgence, with flowing tempos (including through a cumulative cadenza), if with greater character from woodwinds, also the rapturous cellos in the ‘Intermezzo’. The most-measured tempo informed the Finale, and if Schiff’s fingers weren’t always the most easeful, the performance throughout displayed the close collaboration between the musicians, Schiff ‘first among equals’, and he went on to accompany singing members of the BFO in one of Brahms’s Gypsy Songs, and then offered an excerpt from Schumann’s Album for the Young. Following the interval, Mendelssohn’s ‘Scottish’ Symphony, nicely scenic during the introduction, the exposition (not repeated) gently paced and related to the opening, woodwinds to the fore, with greater vitality then coming into play if not continuing into the Scherzo, which could have sprinted more, followed by a slow movement lovingly shaped – expressing contentment as well as awe at the landscape – rounded by a rhythmically adroit Finale that became embroiled in mist before re-emerging in majesty. Dvořák’s Slavonic Dance Opus 72/1 (No.9), unhurried yet spirited, ended the evening.
I did not hear this concert, but this review suggests it was a pretty ordinary affair; indeed, in some ways, a disappointing one. In which case, might I enquire as to how much the BBC paid to get this Hungarian Orchestra to come to London? The BBC has, as we all know, five international symphony orchestras on its staff, each of whom could play this standard repertoire just as well, and probably better, so what was the compelling factor here? Not a note of Bartok, Kodaly or Dohnanyi – who, amongst the BBC’s six Proms Programming sub-committees, approved this same-old, same-old, unimaginative concert? What, precisely, was the compelling reason for it?
Fear not, the Bartok came next evening
Oh, Bob, my friend. Not an ordinary affair at all! You should have been there! Purists may balk at what I say, but surely the sight as well as the sound of musicians delighting in the music and in each other is – must be – part of any ‘live’ experience. Schiff’s was a small voice, but its very intimacy drew but a single cough from the packed, attentive arena in the entire half-hour of the Schumann concerto. The BFO’s sound may miss (doesn’t, I suspect, consider it a top priority) something of the gloss of certain other renowned European orchestras, but the sense of ensemble, of spontaneity, the complete absence of blandness are thrilling to hear. And to watch. Double basses in a single row on the ‘mantlepiece’ projected a luxuriant cushion to the tutti sound, the section visibly and audibly collegial, engaged. At the start of the Weber overture, the four horns were placed left and right, high on either side of Sir Henry Wood’s bust, and at the coda of the Mendelssohn finale, the violas stood to play their melody, followed by the second violins (on the right…bravo!), then the firsts, then – of course! – the horns. A thrilling coup de theatre. Thank goodness, of course, for the BBC orchestras. But surely a cultural mix is what the proms are all about. Oh, and tonight (Sunday) the BFO does give us Ligeti and Bartok – music of its native land. As we used to say in our 1970s student days: be there or be square!
All very well articulated points :
However for this promenades, this was as far distanced from an “ordinary affair” as can be imagined.
From the first note to the last an uplifting and wonderful experience.
This was music performance from the heart by wonderful ( border-less) musicians. The point of the Proms surely!?
There were some incredible technical points in the concerto, for example the clarity, articulation and emphasis in the left hand, the sweep and lyrical emphasis at an appropriate tempo and most importantly the collaboration of the orchestra and the soloist ( a performance of a concerto for piano and orchestra as equals).
The theatrics alluded to by Mr Keener were appreciated, interesting and enjoyed by all around me ( what vocalists the orchestra are!!)
Well done all involved!!!
It was a sensational concert, from the beginning to end. Electrifying. So privileged to be there. `left on an absolute high!
Yes I do love this combination of a wise conductor and his spirited ensemble. As I say in my own review what looked like a undemanding programme became music making that glowed with Romantic warmth and, Yes, Andrew it was a privilege to be there to witness the camaraderie going on within the ensemble . The end as described was a coup de grace.
May I ask have we heard the best from Sir Andras? The opening “smudge” was noticeable I am afraid.
You make a serious point, Edward, apropos Sir Andras. For me, the little approximations of articulation were largely outweighed by this artist’s deep intelligence and musicianship. And by the quiet, unshowy charisma of his platform presence. How much of this transferred to the Radio 3 audience, I don’t know. At what stage in a career does the communication of a great musician’s gifts become clouded by human frailty? I’m all too aware that my recording producer’s ear in this age of pianistic projection and ubiquitous technical finish may fairly be accused of not hearing the wood for the trees. Discuss!
As one who was travelling when listening to the concert ( l couldn’t miss Andras under any circs ) yes, the smudge was noticeable but in the scheme of things twas minute. But for the beginning the Schumann was wonderful, every note weighed so well.The composer was quoted by Andras in his pre concert interview as bemoaning the showiness of concerti coming after Beethoven, with the soloist being mindful of this fact in the performance, and allowing the music to speak for itself, rather than being a platform for the performer. Humility everywhere, piano and orchestra always as one.
Thank you both, my friends! That’ll teach me to comment on a concert I didn’t attend – but in repertoire terms, was it worth the undoubted cost? From what you both say, it probably was: I sit corrected,
A graceful reply, Bob, to our curmudgeonly theses!
I loved this concert, Schiff for me is a wonderfully poetic pianist, he finds the heart of the music. I’ve never seen him in person but always enjoy his streamed Wigmore Hall recitals. I thought the “sung” encore was fun and a lovely surprise. I look forward to seeing the recording on TV.
I was very disappointed with the Schumann Concerto. Andras Schiff sounded more like he was playing Bach. I found his playing cold, unemotional and detached.
And it was too fast for my taste.
I was hoping for more emotion in this beautiful and romantic piece.
Such a shame.
Just heard this on the TV this evening. Not really great playing. Some smudgy playing and slightly out of synch with the orchestra. Rather disappointing I’m sorry to say.
Having watched this on TV the other night, I’m afraid I only found the mundane in this concert. I really didn’t enjoy Schiff’s Schumann at all. Heavy handed, lacking in effervescence and, in a few places, fairly approximate. I thought it might be me, so to check, I sought out a different performance of the Schumann on Spotify, wanting to check, among other things, some liberties that the BFO seem to have taken with the score. I came across a live performance by Evgeny Kissin. Marvellous! Accurate, bubbly, playful, soulful, luscious, everything I knew the Schumann to be. This prom was not good. Schiff’s performance sounds dusty and scruffy, not befitting the profound understanding he clearly possesses of the piece.
You may not see this, Daniel but I’m with you on your comments about Schiff. The broadsheet reviews were overwhelmingly positive rabbiting on about the special relationship between Schiff and Fischer. I did enjoy the orchestra and heard detail in the orchestration I don’t usually discern but Schiff sounded woolly and uncertain; clearly not his ideal repertoire. I’ve got 9 recordings in my collection and leaving aside the predictably brilliant and virtuosic renditions of Andsnes, Kissin and Zimerman, of the more venerable generation, Solomon and Brendel are the best.