BBC Symphony Orchestra / Edward Gardner (above) (photo © Benjamin Ealovega)
Barbican Hall, Saturday January 7, 2017
Smetana Ma vlast: Vltava; Šarka
Szymanowski Violin Concerto No.2 (soloist – Tasmin Little)
Eötvös The Gliding of the Eagle in the Skies [UK premiere]
Janáček Taras Bulba
L-R Leoš Janáček (1854-1928); Bedřich Smetana (1824-1884); Karol Szymanowski (1882-1937); Péter Eötvös (b1944)
Listen to the BBC broadcast here
Written by Richard Whitehouse
Edward Gardner returned to the BBC Symphony for this diverse if not wholly successful programme, which opened with the ultimate in terse curtain-raisers. Intended then abandoned as the overture to his opera Jenůfa, Janáček’s Jealousy (1895) has latterly enjoyed a peripheral place in the repertoire. Heard here in the late Charles Mackerras’s realization of the original version, it made for a vivid impression – not least when its alternation between strident brass gestures and eloquent string writing unerringly evokes Sibelius during much the same period.
Next came the second and third instalments from Smetana’s cycle of symphonic portraits, Ma vlast. The performance of Vltava (1874) was a disappointment – its constituent sections rather failing to cohere, with Gardner making little of the visceral ‘St John’s Rapids’ episode and the apotheosis doddering along at a jog-trot.
Šarka (1875) fared better – Gardner exerting a tight grip over its scenario of female retribution, with felicitous playing from solo clarinet and horn prior to the fateful close. In context, these pieces sounded curiously adrift, suggesting that a different selection (Šarka, then From Bohemia’s Woods and Fields maybe?) might have proved more effective. Even better to opt for one of those early ‘Gothenburg’ symphonic poems that are rarely revived, of which Wallenstein’s Camp would ideally have complemented the Janáček in the second half.
Time was when Szymanowski’s Second Violin Concerto (1933) existed in the shadow of its predecessor, but this last major work by the composer enjoys increasingly regular revival – its amalgam of luscious textures and folk-inflected harmonies underpinned by a formal cohesion where elements of sonata and rondo forms link hands over a powerful cadenza (by the initial soloist Paweł Kochánski) that Tasmin Little rendered with aplomb.Elsewhere her intonation occasionally faltered as she strove for parity against often dense orchestral writing, though a cumulative impact was rarely less than evident on the way to the affirmative closing pages.
After the interval, a welcome first hearing in the UK for a recent orchestral piece by Peter Eötvös. Written for the Basque National Orchestra, The Gliding of the Eagle in the Skies (2012) utilizes not only the quirky rhythmical profile of that region’s traditional music but also its indigenous percussion – two cajóns situated near the front of the orchestra goading the music on with their distinctive timbre. The piece follows an eventful (and suspenseful) trajectory in which the imagery conveyed by the title is amply though subtly conveyed; the typically stratified textures making possible the luminous final stages then an ending which, not for the first time with this composer, suggests a possible continuation just out of reach.
Later Janáček fairly specializes in such oblique endings, and if Taras Bulba (1918) is not one of these, this rhapsody’s graphic yet by no means literal depiction of events related by Gogol leaves no doubt as to its composer’s identification with his subject. Gardner brought fervency then starkness to the respective deaths of Andriy and Ostap, and while the opening stages of the final section were a little temperate, the apotheosis had a glowing inevitability – though some fallible playing was a reminder of this music’s demands for all its relative familiarity.