Alexandra Dariescu (piano, above), Royal Philharmonic Orchestra / Cristian Mandeal (below)
Cadogan Hall, London; Tuesday 28 November 2017 (Concert supported by the Romanian Cultural Institute)
Enescu Romanian Rhapsody No. 1 in A, Op. 11 No. 1 (1901)
Grieg Piano Concerto in A minor, Op. 16 (1868)
Lipatti Concertino in Classical Style, Op. 3 (1936)
Tchaikovsky Francesca da Rimini, Op. 32 (1876)
Reviewed by Richard Whitehouse
It has often been remarked that the death of Dinu Lipatti, in 1950 at the age of 33, robbed the musical world of a rare pianist, yet his ability as a composer was by no means inconsiderable. Such was evident throughout the modest and perfectly judged proportions of his Concertino in Classical Style, its four movements discreetly and judiciously evoking formal precedents while also offering up the subtlest of allusions to several then contemporary composers who had drawn productively on a neo-classicism inspired (both more and less directly) by Bach.
The Concertino was given here with style and no little insight by Alexandra Dariescu, who had already appeared prior to the interval for an enjoyable performance of Grieg’s perennial Piano Concerto. If the first movement lacked the last degree of formal cohesion, the extent of its expressive scope was not in doubt – not least during the wide-ranging cadenza which Dariescu dispatched with aplomb. The sentiment of the Adagio never cloyed, then the finale exuded energy and eloquence on its way to a grandiloquent but not overbearing peroration.
Both these works benefitted from the stylish and attentive accompaniment as secured, from a Royal Philharmonic Orchestra on excellent form, by Cristian Mandeal – assuredly the leading Romanian conductor of his generation. He began proceedings with Enescu’s First Romanian Rhapsody – a piece that, however much its composer might have deplored the fact, continues to represent his music to the public at large. If just a shade hesitant in the initial section, this account audibly hit its stride in a coruscating take on the breathless dance-music that follows.
The programme ended with an impressive account of Francesca da Rimini – if not the most often heard of Tchaikovsky’s symphonic poems, arguably his most involving in terms of its graphic depiction of the heroine’s love and tragic fate. Not the easiest piece to hold together, it benefitted from the conviction with which Mandeal integrated its contrasting episodes; not least the infernal storm which yields even greater terror in those cataclysmic final pages. The Cadogan acoustic strained to take this all in, but orchestra and conductor emerged triumphant.
For more concert information on the Royal Philharmonic Orchestra, head to the What’s On page on their website
You can hear a recording of the Dinu Lipatti Concertino on Spotify below, part of a disc devoted to the composer’s music by Marco Vincenzi: