Alban Gerhardt (cello, below), City of Birmingham Symphony Orchestra / Kazuki Yamada (above)
Anderson Litanies (2018-19) [CBSO Centenary Commission: UK premiere]
Dvořák Symphony no.7 in D minor Op.70 (1884-5)
Symphony Hall, Birmingham
Wednesday 30 June 2021 (6.30pm)
Written by Richard Whitehouse Photo of Alban Gerhardt courtesy of Kaupo Kikkias
Losing the greater part of the City of Birmingham Symphony Orchestra’s schedule across the past two seasons has meant postponing many of its ‘Centenary Commissions’, but of those which have been rescheduled, none was more keenly anticipated than that of Julian Anderson’s Litanies.
Anderson produced four works during his tenure as the CBSO’s Composer-in-Residence over 2001-5, this new piece renewing its formal and expressive archetypes by fresh and intriguing means. The first of three continuous sections presents cello and orchestra – its modest forces including double wind, harp and piano, their pitches modified by a quarter-tone – as sparring partners in propulsive, toccata-like music. This gradually mutates into a central slow section, whose fraught lyricism intensifies (with unexpected if effective assistance from the orchestra) towards a chorale in memory of Oliver Knussen. From here an increasingly animated cadenza leads to a capricious, dance-like final section that culminates in a splenetic orchestral outburst; the soloist then resuming for a soulful postlude which brings about a calmly equivocal close.
Alban Gerhardt (below) made the most of some finely gauged technical challenges, as he overcame passing vagaries of sound-balance (and what appeared to be a leg injury) to give a confident realization of a piece already heard in Paris, Örebro and Lausanne. The CBSO was no less assured under Kazuki Yamada; if balance between strings and wind occasionally lost focus (second violins placed further to the rear of the platform than would normally be the case), this did little to offset the attractions of a notable addition to the contemporary repertoire.
During a break for platform rearrangement, the CBSO’s Principal Guest Conductor spoke of his gratitude that audiences were again able to attend live concerts. Something of this evident pleasure came through the ensuing performance of Dvořák’s Seventh Symphony – not least an opening Allegro that, despite a few tentative string entries, undoubtedly had the measure of its stoic defiance and underlying seriousness of purpose. Best was a coda whose dramatic initial stages subsided effortlessly and inevitably into sombre rumination towards the close.
The highlight, however, was a slow movement whose Poco adagio marking was studiously observed – Yamada infusing the emotional ebb and flow of a movement whose formal follow -through can seem fitful with unfailing poise, the CBSO wind eloquent in their contribution. Nor was anything amiss in the Scherzo, its ‘furiant’ rhythm audible not just in the trenchant outer sections but also the trio where its simmering presence ensured no let-up in tension on route to a subtly modified reprise then explosive coda. The final Allegro capped the reading accordingly – Yamada never rushing its stealthy alternation between starkness and lyricism, while ably negotiating several testing changes in tempo as the composer ratchets up tension going into an apotheosis whose inherent fatalism was enhanced by the resplendent playing.
A gripping performance, then, as was met with a suitably enthusiastic response. The CBSO is back this Friday with altogether lighter fare for a programme of Summer Classics (including The Lark Ascending), which is conducted by Michael Seal and presented by Andrew Collins.
You can find information on the CBSO’s Summer Classics concert at their website. For more information on composer Julian Anderson, click here – and for more on cellist Alban Gerhardt, visit his website here