Pieter Wispelwey & the RTÉ National Symphony Orchestra, 29th November
This all-Britten concert from the RTÉ National Symphony Orchestra provided a mixed experience for tonight’s audience. The centenary of Britten’s birth has resulted in the fascinating chance to delve deeply into the music of a composer who has come to be regarded as one of the few ‘great’ British composers, the only other unarguables being Purcell and Elgar.
The ridiculously named ‘Big on Britten’ (why do the concerts of a symphony orchestra require names?) prefaces two of Britten’s large-scale works with a short and snippy curiosity. Soirées Musicales, orchestrations of short piano pieces by Rossini, lasts about ten minutes and shows off little of the strong points of either Rossini or Britten. The orchestration seems slightly redundant at times, sounding neither authentically Rossinian nor convincingly Brittenish. The orchestra seem to have ensemble problems under conductor Matthew Halls and it is difficult to tell without further listening whether this music would benefit from a better performance or if it simply deserves to be forgotten about.
The Symphony for Cello and Orchestra is an entirely different proposition. If the orchestra are still having difficulties here, they are far harder to pick out – although there is at times an impression that the orchestra and soloist are on slightly different planets. This thirty-five minute work is unique in Britten’s output as his only symphonic work on that kind of scale. It is also strikingly unusual in general for its integration of the symphonic and concerto models. It is an intensely dark work in four movements, extremely dissonant and dense compared to most of Britten’s work. Pieter Wispelwey is one of those magnetic performers who draws you in to a new, sublime world with every note. His playing is technically flawless, his tuning unworldly, but that is hardly the point – he is one of the greatest musicians. His performance style manages to combine introversion with a capacity for dramatic flourishes aimed squarely at the audience, part of what sets him apart. This Cello Symphony is a difficult listen but a rewarding one – it is a masterwork – and Wispelwey’s performance is one to seek out.
After the interval comes a return to the doldrums with the bloated cantata Saint Nicholas. The NSO join forces here with the RTÉ Cór Na nÓg and the RTÉ Philharmonic Choir, and with tenor soloist John Mark Ainsley. The orchestra (reduced to strings, five percussionists, organ and two pianists at one keyboard) seems fine throughout, although there is too much blocky playing from the pianists, and ensemble between the keyboards and the rest of the orchestra is shoddy at times. The choirs, in particular the Philharmonic, are truly excellent. The music, unfortunately, sounds for the most part like a second-rate parody of second-rate English choral music. The better bits sound like a second-rate parody of Benjamin Britten. Presumably, this was not the composer’s intention. Once again, it is hard to say whether this is entirely the music’s fault, or if a better performance could produce a less soporific result. The piece is also exceedingly long. An audience member provided the highlight: an untimely clap right before the final Amen.
Wispelwey returns alone for the late night concert and performed Britten’s third cello suite. Riveting beyond belief, it offers a very strong ending to what is ultimately a changeable evening.
Programme
Soirées Musicales (after Rossini) – Britten
Symphony for cello and orchestra – Britten
Saint Nicholas – Britten