Piotr Anderszewski (piano), City of Birmingham Symphony Orchestra / Omer Meir Wellber (above)
Symphony Hall, Birmingham
Tuesday 10 March 2020
Bartók Piano Concerto no.3 (1945)
Bruckner Symphony no.6 in A major (1879-81)
Written by Richard Whitehouse
It is a measure of how far Bruckner’s Sixth Symphony has come from being one that even dedicated exponents avoided to one relative newcomers tackle as a way into this composer. The indisposition of Mirga Gražinytė-Tyla could have seen its removal from this evening’s programme, though Omer Meir Wellber (who for the past season has been chief conductor of the BBC Philharmonic, among his portfolio of notable positions) was clearly unfazed by this most technically exacting and emotionally unpredictable among Bruckner symphonies.
As was evident from the start of the Majestoso, the City of Birmingham Symphony’s violins rendering its indelible rhythm with real incisiveness and Wellber duly steering a purposeful course through this most animated of Bruckner’s symphonic movements, while never at the expense of those more lyrical and monumental themes to come. The climactic transition into the reprise was thrillingly done, and how persuasively Wellber pointed up the coda’s breath-taking modulations then its surging peroration whose sudden slowing-up was ideally judged. The Adagio was hardly less fine, with the CBSO strings securing burnished eloquence in its alternation between lament and rapture – underpinned by a majesty no less tangible than that in the following symphonies for all its restraint and, in the closing pages, gentle evanescence.
Other conductors might have found greater wit and insouciance in the Scherzo, but Wellber yielded to few in his delineating of its quizzical and propulsive gestures; nor did the trio want for elegance, for all its final phrase was ‘leant on’ a little too insistently. Notoriously difficult to make cohere, the Finale felt all of a piece with what went before – Wellber mindful that its ultimate affirmation is not without its quixotic or even ironic asides; moreover, that its formal divisions are secondary to its being in constant transition, on the way to an apotheosis where this movement audibly chases its tail as an unlikely and even uproarious means of bringing the work full circle. Quite a piece and quite a reading as set the seal on a performance that, if not the last word as interpretation, was never less than confident and assured in its traversal.
Coupling Bruckner with Bartók might seem a risky strategy but, in the event, the Austrian’s ‘cheekiest’ symphony followed-on ideally from the Hungarian’s deftest piano concerto. Piotr Anderszewski’s (above) take on the Third was one of judicious touches, not least an initial Allegretto tougher and more demonstrative than usual, without sacrificing this music’s innate sense of ingratiation. What followed was arguably too slow for an Andante, though how acutely the pianist brought out its ‘religioso’ marking in those poised exchanges of soloist and strings then woodwind – the brief central scherzo a ‘night music’ as delectable as it was evocative. Nor did Anderszewski under-characterize the final Allegro, its underlying vivacity accorded heft and not a little ambiguity on route to the most agile and uninhibited of Bartók’s codas.
A successful concert, then, which should certainly find favour on the (regrettably truncated) European tour the CBSO now undertakes. It is back in Symphony Hall for Verdi’s Requiem, then a varied programme that features the UK premiere of Julian Anderson’s Cello Concerto.
Here is a Spotify playlist of music from the concert. The CBSO have not recorded the Bruckner before there is a recent version available from their former chief conductor, Sir Simon Rattle, and the London Symphony Orchestra. The playlist also includes the CBSO, Rattle and pianist Peter Donohoe in a 1992 recording of the Bartók:
For further information on the current season of CBSO concerts, visit the orchestra’s website