St. Petersburg Philharmonic Orchestra, 11 March 2003, Symphony Hall, Birmingham

Concert Reviews

Index of Reviews
Academy of St. Martin in the Fields/Marriner/Marriner, 28 January 2006
Moscow Philharmonic Orchestra/Simonov/Hugh, 12 November 2005
Berg: Wozzeck, WNO, 1 April 2005
CBSO/Sinaisky/Bliss, 25 January 2005
St. Petersburg Philharmonic/Termikanov/Kempf, 11 March 2003
Endellion Quartet, 5 February 2003
Tucker/Chateauneuf, 20 November 2002
Katia and Marielle Labèque, 29 October 2002
Prom 44: Abado/GMYO, 20 August 2002

St. Petersburg Philharmonic Orchestra, 11 March 2003, Symphony Hall, Birmingham

Rachmaninov’s 2nd piano concerto is not only one of the most magnificent instrumental concertos, it is undoubtedly one of the most popular pieces of classical music today. On 11 March it was the centrepiece in a concert of Russian music performed by the St. Petersburg Philharmonic Orchestra under Yuri Temirkanov, joined for the evening by the young British pianist, Freddy Kempf.

Vocalise, a beautiful wordless song by Rachmaninov, arranged for strings, established the deep Russian melancholy that pervaded the programme. As the lyrical melody unfolded over gently shifting harmonies, a vibrant, resonant sound filled Symphony Hall and a sense of stillness enveloped the audience.

The same composer’s tempestuous, haunting, ravishing piano concerto was bound to thrill, and Freddy Kempf provided an electrifying performance: dangerous, edge-of-the-seat stuff, quirky at times, though always sensitive to the beautiful Romantic melodies. From the great, pounding Russian bells at the start, through the bittersweet Adagio (a movement used to poignant effect in the film ‘Brief Encounter’), to the energetic finale, the piano and orchestra were perfectly balanced. Fine woodwind solos matched the smooth strings and enthusiastic brass playing. A few fluffed notes on the part of Kempf were quickly forgiven, such was the virtuosity of his playing. The ovation was immense.

The orchestra itself came to the fore in a spirited performance of Shostakovich’s 6th Symphony, forming the second half of the concert. We were taken on a journey to the Russia of 1939, a time described by the composer as “unbelievably mean and hard”. This atmosphere was conveyed in the slow opening movement with a dark, intense and menacing power characteristic of Russian orchestras. The symphony is not without humour, though, and the contrasting final two movements were played with charm. A top-heavy work; turbulent and petrifying.

Rachmaninov’s haunting melancholy coupled with the brooding anxiety of Shostakovich made for an evening of great passion. Moments of excitement and optimism in the music took us to great heights; depth of sound met depth of emotion.

Tim Foxon

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