Richard Whitehouse on the BBC Symphony Orchestra, conducted by Semyon Bychkov (above) in the second of their Tchaikovsky-themed concerts
Tchaikovsky Serenade for strings in C major, Op. 48 (1880)
Tchaikovsky Piano Concerto No.3 in E flat major, Op. 75 (1893)
Taneyev Overture: The Oresteia, Op.6 (1889)
Tchaikovsky Francesca da Rimini, Op. 32 (1876)
Kirill Gerstein (piano), BBC Symphony Orchestra / Semyon Bychkov
Barbican Hall, London; Monday 24 October
The Beloved Friend series being curated by Semyon Bychkov provides a revealing overview of Tchaikovsky through some lesser performed works. Not the least of which is the Serenade for strings that, though its individual movements emerge frequently on radio, is not so often encountered in concert. Too short to occupy a second or even first half, it makes for a lengthy yet viable opening item when, as tonight, a full-sized string section is deployed with panache.
Bychkov ensured a fervent response in the first movement, its animated main sections framed by the rhetorical motto theme that ultimately returns as an apotheosis, then found suavity as well as elegance in the Waltz. Despite lack of inwardness, the Elegy yielded real clarity in its denser passages, while the Finale proceeded briskly yet characterfully to its resolute close.
Next followed a rare revival of the Third Piano Concerto, itself reworked from an abandoned symphony and what would doubtless have become a three-movement entity had Tchaikovsky completed its Andante and Finale to his satisfaction prior to his death (these latter, as realized posthumously by Taneyev, make an effective whole – as Alexander Markovich demonstrated in a Royal Festival Hall account eight years ago).
As a stand-alone piece, the Allegro brillante (best known in its ballet incarnation by George Balanchine) unfolds a quirky and characterful sonata design – its themes distinctive for their emotional restraint, with a stealthy interplay between piano and orchestra that Kirill Gerstein (above) audibly relished. Momentum faltered marginally after a scintillating cadenza, but the final pages strode onwards to a decisive if peremptory ending.
Overall, a convincing account of music which warrants greater exposure. Hopefully Gerstein will yet tackle this work’s three-movement incarnation: for now, he returned for a reading of Méditation – the fifth of Tchaikovsky’s Op. 72 collection – that oozed eloquence and poise.
More discussed than played in the West, Sergey Taneyev was as least as much a composer as pedagogue; a notable output of orchestral and chamber music capped by his ambitious opera The Oresteia. Beginning life as this latter’s introduction, the present overture expanded into an autonomous entity that surveys the opera’s dramatic content and is an eventful symphonic poem in its own right. Its complementary halves representing an archetypal ‘war and peace’ in dramatic as well as musical terms, the piece is harmonically questing and often texturally adventurous – not least in its extensive though never self-conscious writing for harps. Some 15 years after Taneyev last enjoyed a fair measure of exposure in London, Bychkov directed a fastidious performance to remind listeners that they are the poorer for this music’s neglect.
Even in an era intent on ‘concerto and symphony’ programming, Tchaikovsky’s Francesca da Rimini has never lacked for performances – this symphonic fantasia mingling drama with pathos to a heady degree even for this composer. Bychkov accordingly upped the ante in the tempestuous opening, then secured a suitably rapt response from woodwind and strings in the central section depicting Paolo and Francesca. Its balletic continuation drifted as is often the case, but the final pages portrayed the hapless lovers’ descent into hell with unerring ferocity.
Recorded by BBC Radio 3 for future broadcast in Afternoon on 3, and available for 30 days thereafter via the Radio 3 website