Khatia Buniatishvili (piano), Melbourne Symphony Orchestra / Jaime Martin
Sutherland Haunted Hills (1950) [Proms premiere]
Tchaikovsky Piano Concerto no.1 in B flat minor Op.23 (1874-5)
Dvořák Symphony no.6 in D major Op.60 (1880)
Royal Albert Hall, London
Friday 29 August 2025
Reviewed by Richard Whitehouse Photos (c) BBC / Chris Christodoulou
Eleven years after its well-received debut at these concerts under the late Sir Andrew Davis, the Melbourne Symphony Orchestra made its unintentionally eventful return with current chief conductor Jaime Martin and a programme which, for the most part, played to this orchestra’s strengths.
A significant presence in Australian music throughout the mid-twentieth century, Margaret Sutherland has yet to receive her due in live or recorded terms; making this performance of Haunted Hills the more timely. Inspired by the Dandenong Ranges, just outside Melbourne, her symphonic poem evokes the timelessness of its environment as surely as the fate of the Aboriginals who came there. Its starkly dissonant opening then granitic opening paragraph recall that Vaughan Williams’ Sixth Symphony had been unleashed barely two years earlier, and while much of what follows is notable more for its judicious orchestration than formal cohesion, the musical persona that finally emerges is distinctive enough to warrant further hearings of this piece within the context of Sutherland’s not inconsiderable output overall.
Logistical factors necessitated a reordering such that Dvořák’s Sixth Symphony came before the interval. Not a stranger to these concerts (tonight’s being its ninth hearing in 72 years), it responded well to Martin’s interventionist if rarely intrusive approach – not least an opening Allegro (its non tanto duly observed albeit with no exposition repeat) at its most persuasive in a development whose seeming discursiveness was purposefully reined in, and on to a coda whose heightened sense of arrival was mitigated only by those slightly tentative closing bars.
Not the deepest among Dvořák’s symphonic slow movements, the Adagio is surely his most felicitous in its expressive shadings and emotional understatement. Martin made the most of these, as too the contrast between the Scherzo’s impetuous outer sections and its ingratiating trio. The surging acceleration at its close prepared unerringly, moreover, for a Finale as finds Dvořák at his most Brahmsian though, here again, Martin (above), steered a forthright course through its overly rhetorical development before he infused its coda with an exhilarating affirmation.
Tchaikovsky’s First Piano Concerto cannot often have occupied the second half of a concert, though Khatia Buniatishvili made the most of her delayed appearance. Most striking was the amount of hushed playing during a lengthy opening movement whose indelible introduction was kept well within emotional limits. If coordination between soloist and orchestra was not all it might have been, the latter’s entry after a suitably dextrous cadenza was an undoubted highpoint, though not a rather blowsy coda. A melting take on the Andantino was enhanced with poetic contributions from flautist Prudence Davis and cellist David Berlin – while if, in the final Allegro, Buniatishvili’s passagework could seem unnecessarily skittish, she and the Melbourne players came together admirably in a surging but not unduly bathetic peroration.
As to extra-musical occurrences at this concert (for a full BBC account, read here), these artists responded simply by focussing on the music. As an envoi, Buniatishvili’s elegant rendering of the Adagio from Alessandro Marcello’s Oboe Concerto in D minor, arranged by Johann Sebastian Bach, could not have been more fitting.
Click on the artist names to read more about pianist Khatia Buniatishvili, the Melbourne Symphony Orchestra and conductor Jaime Martin. Click also for more on composer Margaret Sutherland, and the BBC Proms
Published post no.2,643 – Sunday 31 August 2025
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