Classical
This concert marked the debut of German conductor Ingo Metzmacher with the London Symphony Orchestra, an acknowledged champion of contemporary composers. It opened with Hartmann's Fifth Symphony - a reworking of his earlier Concerto for Wind Ensemble, Double Basses and Two Solo Trumpets - described as a show-piece for wind and brass. Metzmacher is an acknowledged interpreter of Hartmann's compositions (he has recorded the complete symphonies with his own orchestra) but despite the immaculate playing and taut conducting, the work remained, for me at least, a little uninspiring. Nonetheless, it was an appropriate opening taster for the Stravinsky to come, as the work borrows material and ideas from the Rite of Spring.
Before that, however, the orchestra tackled Beethoven's Triple Concerto. This is a work that, although not technically complex, presents problems of balance between the three soloists and the orchestra, and also the challenge of convincing the audience of the piece's worth (it does not have enough material to support its length). It is not one of Beethoven's greatest works and its place in the repertoire seems to be supported by a selection of committed performances captured on disc. With the cerebral Stephen Hough on the piano, the excitable Steven Isserlis on the cello, and the stylish Leonidas Kavakos on the violin, the solo parts were naturally captivating, insightful and well played. The orchestra's contribution, too, was totally dependable, although there was a sense that the LSO horns were failing to blend with the sonority produced by the rest of the orchestra. All in all, the piece was polished and thoughtful, if lacking a little something and failing to convince that this work is anything but Beethoven below his best.
The Hartmann and Beethoven had shown that both conductor and orchestra understood one another enough to attempt one of the most difficult works in the repertoire. Originally written as a ballet, the Rite of Spring literally caused an uproar at its premier when commotion turned to riot. It's not hard to imagine how shocking it must have been - dissonant, barbaric music on the theme of pagan sacrifice, stomping choreography and modernist scenery shattered many conventions and catapulted Stravinsky to international fame. Today, the Rite tends to be performed as a virtuosic concert piece rather than staged as a ballet in the theatre, and it gives a wonderful opportunity for orchestras to strut their stuff. The 'sound world' of the Rite is perfectly suited to the LSO. Snarling brass, weighty strings and characterful woodwind playing ensured that each phrase was articulated clearly, and often with stunning effect. It was, however, the percussion that stole the show, with bass drum and timpani used with shocking results.
The performance was rhythmically secure and much interesting detail was revealed. The playing of the orchestra was immaculate throughout. Metzmacher's control was superb. His tempos were predominately conventional, although the Glorification of the Chosen One was probably a little on the fast side, sacrificing some detail, though the LSO responded admirably to the manic direction here. The final Sacrificial Dance was thrilling and the entire performance kept the adrenaline running for the full thirty-odd minutes. Despite the programming of the first half, this concert was a triumph for the new partnership.
10th Jan 2002