Paul Lewis (piano), City of Birmingham Symphony Orchestra / Chloé van Soeterstède (above)
Mozart Don Giovanni K527: Overture (1787)
Beethoven Piano Concerto no.2 in B flat major Op.19 (1787-9, rev. 1795)
Mendelssohn Symphony no.5 in D minor Op.107 ‘Reformation’ (1830)
Symphony Hall, Birmingham
Wednesday 2 June 2pm
Written by Richard Whitehouse
Photos from Symphony Hall by Hannah Blake-Fathers
‘Heaven and Hell’ might have been too histrionic a title for this latest concert by the City of Birmingham Symphony Orchestra, yet it indicated the trajectory of a programme featuring Mozart at his most Romantic, Beethoven at his most Classical then Mendelssohn at his most Baroque.
Making her debut with this orchestra, French conductor Chloé van Soeterstède played down the rhetoric in those indelible opening chords of the overture to Mozart’s Don Giovanni but maintained impetus throughout the deftly modified sonata design as it sets out the tone if not content of what follows. In its theatrical context the music continues directly into the opening scene, but – despite (or even because?) of its emotional terseness – the ‘concert ending’ is by no means un-effective in its propelling the dramatic focus on towards a decisive conclusion.
Paul Lewis then joined the CBSO for Beethoven’s Second Piano Concerto – actually, the first in chronological terms and easy to underestimate in terms of its stylistic antecedents. Yet, as Lewis demonstrated in engaging terms, this is only incrementally less then characteristic and such as the close of the first movement’s initial tutti and transition into the reprise could only be by Beethoven. Lewis now feels the composer’s 1809 cadenza involves too great a stylistic disparity, and his own solution is formally and expressively consistent with what went before.
The highlight of this performance was nonetheless the Adagio (probably the earliest music in what was a lengthy gestation), limpid and poetic while never cloying – the closing interplay between soloist and orchestra unerringly well judged. Lewis then set a swift if not headlong tempo for the ensuing Rondo which gave full rein to the music’s bracing vigour but also its deftly ironic asides. Not least those tonal sideslips near the outset of the coda, with pianist and conductor at one in projecting an ebullience right through to the spirited final pay-off.
Good to see Mendelssohn’s Reformation reasserting its place in the repertoire after decades at the periphery. With controversies over a Jewish-born composer commemorating a Protestant anniversary (and quoting the ‘Dresden Amen’ of Catholic liturgy) now consigned to history, the innate power of the initial Allegro can readily be appreciated and not least in so assured a reading as this. Van Soeterstède brought out its inexorable onward motion in full measure, the scherzo providing an ideal foil in its infectious gaiety and the whimsical guile of its trio.
Eloquently rendered as a soulful ‘song without words’, the third movement thus balanced the work’s introduction as a searching contrast to what follows – here, a finale which unfolds as an extended paraphrase on the Lutheran chorale Ein’ feste Burg ist unser Gott, its heady if sometimes overbearing emotional force adroitly channelled toward a fervent apotheosis. The CBSO woodwind made a felicitous contribution, not least Marie-Christine Zupanic with the flute’s gentle intoning of that chorale – Mendelssohn’s devotion to Bach here made manifest.
An auspicious showing for Van Soeterstède, who will hopefully be returning in due course. Next week sees a very different programme of Britten’s Nocturne and Malcolm Arnold’s Fifth Symphony, doubly welcome in view of his centenary and its close association with the CBSO.
For further information about the CBSO’s current series of concerts, head to the orchestra’s website