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In concert – Mary Bevan, CBSO / Edward Gardner: Schubert – Symphony no.9 & Songs

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Mary Bevan (soprano), City of Birmingham Symphony Orchestra / Edward Gardner

Schubert
Rosamunde D797 – No. 3b, Romanze (1823)
Der Erlkönig D328 (1815, orch. Berlioz 1860)
Die Forelle D550 (1816, orch. Britten 1942)
Im Abendrot D799 (1825, orch. Reger 1914)
Geheimes D719 (1821, orch. Brahms, 1862)
Symphony no.9 in C major D944 ‘Great’ (1825-6, rev. 1828)

Symphony Hall, Birmingham
Wednesday 17 May 2024

Reviewed by Richard Whitehouse Pictures by Benjamin Ealovega (Ed Gardner), Victoria Cadisch (Mary Bevan)

July concerts no longer a consistent fixture in the City of Birmingham Symphony Orchestra’s schedule, it made sense to end the current season with the intended programme for the fourth and final volume of this orchestra’s Schubert cycle with former chief guest conductor Edward Gardner.

If not his final such project, the ‘Great’ was the final symphony that Schubert finished and the culminating orchestral work of his last decade. Now, as almost two centuries ago, it is not an easy work to being off – but this account hit the ground running with a flowing yet purposeful introduction that elided seamlessly with the initial Allegro. Gardner kept momentum on a sure yet flexible rein over those impetuous and capricious themes of its exposition; underlining the subtly eddying tension of its development and a propulsive coda whose link-up with the tempo of that introduction was marred only by the too emphatic final gesture. Respectively plaintive or consoling, the Andante’s alternate episodes were brought into eloquent accord – the fanfare -riven anguish at its climax then the stark fatalism towards its close being especial highlights.

The essential link between the scherzos of Beethoven and Bruckner, the third movement had the right buoyancy but also a suavity in keeping with the Viennese character of its dance-like themes, and complemented by those of its trio whose lilting elegance were tinged by wistful regret. Launched with a commanding call-to-attention, the Finale did not lack for vigour but, unlike so many performances, Gardner was mindful not to rush either here or in the capering second theme whose relentless string accompaniment was vividly rendered. The development more than fulfilled its purpose as an extended transition into the reprise, then the coda opened with a frisson of anticipation such as underpinned the closing pages as they powered towards the decisive but never headlong close to what was a convincing and engrossing performance.

Regarding repeats, Gardner observed that of the first movement’s exposition but not those in the second half during either scherzo or trio, and that of the finale’s exposition. This at least made matters easier for the players, and left options open for their inclusion in the recording.

That forthcoming release on Chandos will hopefully find room for the five songs that formed the first half of this concert, with each of them arranged by a different composer. The pensive Romanze from Schubert’s incidental music to Rosamunde was heard in the composer’s own orchestration, with the compact psychodrama of Der Erlkōnig in a resourceful and nowadays overlooked orchestration by Berlioz. The looping but not always ingratiating playfulness of Die Forelle was expertly attended to by Britten, while the pensive soulfulness of Im Abendrot summoned an appropriate response from Reger; the sombre resignation of Geheimnis making for a welcome encore in its orchestration by Brahms. Throughout the selection, Mary Bevan’s veracity of emotional response and her clarity of enunciation were qualities worth savouring.

This programme may have concluded the Schubert cycle by Gardner and the CBSO, though hopefully it will not see of this partnership in recorded terms – the symphonies of Schumann, and maybe Brahms, being well worth considering as additions to the orchestra’s discography.

For details on the 2024-25 season A Season of Joy, head to the City of Birmingham Symphony Orchestra website. Click on the names to read more about soprano Mary Bevan and conductor Edward Gardner

Published post no.2,243 – Thursday 18 July 2024

In concert – Soloists, CBSO Chorus & CBSO / John Butt: Handel’s Messiah

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John-Butt

Handel Messiah HWV56 (1741)

Mary Bevan (soprano), Reginald Mobley (countertenor), James Gilchrist (tenor), Christopher Purves (baritone), CBSO Chorus, City of Birmingham Symphony Orchestra / John Butt (harpsichord)

Symphony Hall, Birmingham
Wednesday 8 June 2022

Written by Richard Whitehouse

Unlikely as it might seem, the CBSO Chorus had never given Handel’s Messiah before this evening – the regular stream of performances by choral societies or the City of Birmingham Symphony Orchestra having other priorities putting paid to any such intention until tonight.

Not that Messiah has ever lacked for performances since its Dublin premiere in April 1742 – after which, it soon became recognized as, if not necessarily the finest of Handel’s numerous oratorios, then certainly the most representative; a template for the genre such as dominated music-making in Britain over the next 175 years. His text drawn freely from the Old and New Testaments, Charles Jennens relates Christ’s birth, death and resurrection then triumph of the Christian gospel in meaningful while not profound terms as were bound to strike a resonance.

Formerly the work falls into three parts of 16 scenes and 53 individual (not always separate) numbers, ranging from brief solo recitatives to lengthy arias and extended choruses in what became a blueprint for those oratorios as followed apace over the next decade. Although all four soloists share in relating aspects of the narrative, there is no division into specific roles as in Passion settings; itself a sure means of conveying a dramatic scenario without the need to endow musical content with an overly theatrical aspect as might have become distracting.

Tonight’s soloists evidently had no lack of familiarity with the work. For all their individual excellence, the deftness of Reginald Mobley’s lightly inflected alto, mellifluousness of James Gilchrist’s high tenor and elegance of Christopher Purves’s lyric baritone perhaps limited the emotional contrast possible between solo items. This was hardly the case with Mary Bevan (above), whose eloquent assumption of the soprano numbers, not least an I know that my Redeemer liveth as brought out the pathos of music that long ago seemed to have become its own stereotype.

Otherwise (not unreasonably) it was the choral items which really hit home. Enthused by the chance to sing this work the CBSO Chorus gave its collective all: whether in those energetic earlier choruses, fervent anticipation of Glory to God in the highest, contrapuntal vigour of Hallelujah or the majestic accumulation of Worthy is the Lamb, whose elaborate ‘Amen’ was powerfully rendered. Simon Halsey and Julian Wilkins (behind the organ manual) had evidently ensured that, for the CBSOC’s rare outing in this work, nothing was left to chance.

Not that the CBSO’s contribution was found at all wanting. Avoiding a temptation to try out one of the latter-day orchestrations, the string sections were modest (10.8.6.4.2) while almost always achieving a viable balance with the chorus. Bassoon, theorbo and organ constituted a discreet continuo, Matthew Hardy’s timpani underpinned the final choruses and Gwyn Owen was superb in the concertante role of The trumpet shall sound. Directing at the harpsichord, John Butt secured playing of incisiveness and depth with no recourse to specious authenticity. Given that the CBSO Chorus celebrate its half-century next year, it might have been thought advisable to schedule this performance during 2023. No matter – tonight proved a memorable occasion and it seems highly unlikely that a repeat account will have to wait another 49 years.

For more information on the CBSO’s 2021/22 season, visit their website, and for details on the newly announced 2022/23 season click here. Meanwhile for more information on the artists, click on the names to access the websites of John Butt, Mary Bevan, Reginald Mobley, James Gilchrist and Christopher Purves