Haydn,
Bartók, Dvorák: András Schiff (piano) Philharmonia Orchestra/Uri Segal, QEH, 20.12.
2005 (CC)
According to the programme booklet, it was Schiff that was
to steer the course of the evening's music - he was listed
as conductor/piano - even though the SBC website promised
that Israeli Uri Segal would conduct. Well, Segal was indeed
present but there was no indication of him anywhere that
I could see – very confusing for those who came in 'blind,
as it were – especially since a biography of Christoph von
Dohnányi was included in the booklet too.
Still, this ended up as a most rewarding
concert, particularly in the first half. Haydn's 93rd
Symphony (in D) is a delightful work complete with a farty
bassoon joke in the second movement. The first movement's
slow introduction is fairly adventurous and was marked in
this performance by lovingly-shaped violin phrasing and
incisive timpani. A shame then, that the Allegro assai
had a rather muddy start (something that also afflicted
the finale's opening bars). Segal is clearly more at home
in the work's more dramatic, 'Sturm und Drang' moments than
with Haydn's more charming side as the contrasting sections
of the first movement showed. The solo string contributions
to the slow movement however, were a delight particularly
those from leader Maya Iwabuchi. The finale was underscored
by such seriousness of intent that the music was never merely
playful.
The concept of string solos taken from the main body of
the music linked the two pieces in the concert's first half.
Bartók's ever-popular Divertimento was given a full-blooded
account complete with solo contributions that once again
were of the utmost excellence. Perhaps the Molto adagio
slow movement was the highlight, moving to a very effective
climax carefully prepared by Segal, and including some gorgeous
moments of the stillest pianissimi. No doubting
the rustic dance that is the origin of the finale either
- excellent pizzicati and a sort of Bartókian Sugar Plum
Fairy!
Finally, to Dvorák's magnificent Piano Concerto. Schiff
was billed to direct this, though Segal conducted in the
end and revealed a dramatic conception of the orchestral
exposition (such a pity though that high strings sound so
shrill in the QEH). Schiff's idiosyncrasies were evident
from the start however and his entering ppppp moved
quickly into an over-projected right-hand. All in all, he
seemed to take his time to warm to Dvorák's lovely sound
world: his idea of deliberately lightening his tone for
some of the more awkwardly written moments was effective,
but this music requires fire too. Though the orchestra tried
hard to provide the necessary spark, without active participation
by the soloist, the attempt was simply not enough.
Matters improved for the slow movement, with excellent woodwind/piano
communication and special mention should go to the characterful
solo bassoon. Yet the finale scuppered the preceding good
work and here, the the main theme's repeated notes sounded
just plain awkward. The performance generally, seemed under-the-weather
and in some parts came across as disjointed - unnecessarily
so, as Richter showed us in his recording with Carlos Kleiber,
now on EMI GROC CDM5 66895-2. Schiff's low-voltage
account did Dvorák's score no favours and, I'm sure, won it
few new friends.
Colin
Clarke
