Fireworks of the right kind from Matsuev, Temirkanov & the Philharmonia
The two works on tonight’s programme, both giants of the repertoire, are tricky to carry off for different reasons. Tchaikovsky’s Piano Concerto No. 1, Op. 23 is so familiar, and is such a barnstorming giant that it can be hard to bring any kind of freshness and subtlety to a performance. Brahms’ Symphony No. 4, Op. 98, on the other hand, suffers from perceptions of his music as heavy, difficult and conservative compared with that of his late Romantic contemporaries. There was also nothing other than these two titanic works to ease the audience in. So how would the Philharmonia Orchestra, conducted by a rather serious Yuri Temirkanov tackle this, along with fellow Russian pianist Denis Matsuev? In short, with simplicity and ease, and, as a result, giving surprisingly refreshing performances of these familiar masterpieces.
Temirkanov’s no-nonsense approach was immediately evident, so much so that he took the orchestra slightly by surprise as the opening horn entry was a little slow off the mark. However, then we were off, and amongst the powerful chords, Matsuev immediately impressed with his precise articulation and attention to detail. The first violins were a little slow to get going, with their first big tune slightly underpowered, but once all were settled in, this was a suitably swaggering opening from all. However, most impressive was Matsuev’s intimacy in the quieter solo passages, and in the cadenza, he made the most of the Schumannesque hanging harmonic inflections as if this was a chamber recital. The second movement’s opening was given a delightfully uncluttered reading, with Matsuev’s semplice openness matched by delicacy and an emphasis on smooth tone from the woodwind. The central prestissimo went off at a lightening speed, which made Matsuev’s crystal clear filigree detail all the more astounding. The finale had great energy, spirit and a real sense of fun, with Matsuev and Temirkanov perfectly judging the flow of tempi between the wild rondo theme and the contrasting episodes. Matsuev kicked into a new gear to power up for the work’s manic conclusion, and the brass were almost left behind in the frantic dash for the finish. This was a performance with plenty of fireworks, but the right kind for a change: power, virtuosity and drama for sure, but extreme contrasts, fine detail and moments of high intimacy too. Matsuev gave a well-deserved encore of more Tchaikovsky, the Méditation, Op. 72 No. 5, and once again combined brilliance with immediacy, and incredibly even control in the extended final trill.
Nick Boston
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