Tchaikovsky Piano Concerto No. 1 in B flat minor Op.23 (1874-5)
Bruckner Symphony no.6 in A major (1879-81)
Gabriela Montero (piano), City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla
Symphony Hall, Birmingham
Wednesday 11 May 2022
Written by Richard Whitehouse
Tchaikovsky and Bruckner might not be the likeliest coupling, but this evening’s programme by the City of Birmingham Symphony Orchestra juxtaposed two works of less than a decade apart to arresting and even thought-provoking effect under the baton of Mirga Gražinytė-Tyla.
Gabriela Montero can almost always be relied upon to ring the changes in standard repertoire, as it proved in this account of Tchaikovsky’s First Piano Concerto. Its introduction opulent if not unduly grandiloquent, the opening movement proceeded securely and often imaginatively – Montero unafraid to tackle the orchestra head on in this most elemental confrontation, even while her tone was not free of clatter on occasion. Powerfully shaped and incisively rendered, the cadenza brought forth a spontaneous response to this composer at his most imaginative.
At less than half the length of their predecessor, the remaining movements can feel almost an afterthought, though Montero had the measure of the Andantino with its winsome main theme (elegantly phrased by flautist Marie-Christine Zupancic) with its capricious central section incisively fleet of foot. Heading straight into the final Allegro con fuoco (mention of which was omitted from the programme), she duly balanced pianistic fireworks with tangible pathos on the way to an apotheosis with piano and orchestra at one in conveying the music’s unchecked elation.
From the outset of her career, Montero has advocated the almost lost art (with pianists if not organists) of improvisation, and her encore duly took the title-theme from Ennio Morricone’s score to Cinema Paradiso as basis for an engaging workout along the lines of a Bach fugue.
It was Bruckner’s Sixth that MG-T should have conducted (replaced by Omer Meir-Wellber) at what proved the CBSO’s last ‘home’ concert prior to the corona virus ushering in the first lockdown. Good she has been able to reschedule it, even if the overall result was inconsistent. The initial Majestoso was mostly well judged, even if her modification of tempo between its first and second themes then her hairpin crescendos towards the apexes of the development and coda – the latter being one of Bruckner’s finest inspirations – impeded formal continuity. No such issues affected the Adagio, its ineffable expanse guided with assurance and no little insight towards those climaxes supporting the structure as though pillars of an ecclesiastical edifice – the coda ensuring a benediction whose repose remained after this music had ceased.
Nor was there anything to take issue in a Scherzo whose outer sections had all the requisite verve and wit, with the insouciance of its trio ideally judged. A pity when things rather fell apart in the Finale – its genial second theme just avoiding sentimentality at this halting pace, but whose development unfolded at so inhibited a tempo as to become parenthetical to the movement overall. By the time the coda emerged, any consistency of pulse had long been sacrificed so not even the splendour of the CBSO’s collective response could save the day.
Hopefully MG-T will be able to tackle this recalcitrant work again soon, though tomorrow sees the Tchaikovsky paired with Brahms’s Third Symphony. The CBSO then embarks on another European tour before returning for a History of Soul event at the end of this month.
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 Gabriela Montero and Mirga Gražinytė-Tyla