SEEN AND HEARD INTERNATIONAL

Vaughan Williams, Higdon,Stravinsky: London Philharmonic Orchestra, Marin Alsop (conductor), Colin Currie (percussion) Royal Festival Hall 15.12.2007 (CR)


From the outset, it was clear that this concert would be a good one. The sumptuous string playing in Vaughan Williams’s Fantasia on a Theme of Thomas Tallis was rich and intoxicating, with Alsop allowing the music to evolve with a perfect sense of pacing. The dark harmonic modal shifts which characterise this work were beautifully placed. There was sensitive balancing of the groups, from the full tutti, to the two smaller solo groups and the intonation was almost faultless. The solos from the quartet were well played, with the cello and viola playing most memorable. Alsop’s understanding of the momentum in the work was second to none, driving the movement forwards towards the climactic moments while giving the necessary spacing to the slower sections, without being overly indulgent.

This was followed by the European Premiere of Jennifer Higdon’s Percussion Concerto. From the moment he walked on stage, Currie stole the show. Dressed smartly (but not pompously) in black, his approach was refreshingly relaxed, although completely professional. He attracted a large audience, comprising many young faces, and it is heartening to see that there is still life in the concert hall. Higdon’s music, while undeniably American in style and influence, was similarly refreshing and enticing. Starting from silence with low marimba tremolos (it was exciting to see sticks move but hear no sound for a while), the solo part is joined by the orchestral percussion section, who mirror the solo line. Higdon’s use of space and antiphony, repeated in different ways throughout the piece, is compelling. Her work shows imaginative use of orchestral resources, and includes eerie and atmospheric sounds from the blend of solo and orchestral percussion. For me, the most memorable moments included bowed vibraphones and an intoxicating woodwind chorale theme with bells over the top.

Currie, an irrefutable virtuoso, played with apparent ease and musical sensitivity. He is able to communicate with his audience and make them part of the music. The orchestral playing was similarly impressive. There were well executed woodwind solos from the four principal players, and technically challenging moments were performed well. Currie’s drum kit cadenza was spectacular in itself, despite the obvious discomfort of some members of the first violin section, who were frighteningly close to the sound.

Wows, whistles and screams emanated from the audience at the end, and deservedly so. Particular appreciation was shown for the orchestral percussion section, led skilfully by Rachel Gledhill. This was a special moment in British concert history.

With the composer and conductor present on stage together to receive applause, this was a fine advert for girl power. Alsop took control of the orchestra with customary displays of brilliance; it is almost as if her body becomes the music. Higdon is an exciting voice in contemporary music.

It would have been hard to follow such an extravaganza, but Stravinsky’s Rite of Spring was a perfect candidate. This was an exciting performance, with well judged tempi and all the prerequisite underlying energy. The string sound was rich, the brass playing was to be applauded and there were some wonderfully played woodwind lines. Most notably, there was excellent playing from the piccolos, timpani, trumpets and horns. This was an involving and exhilarating performance, and I enjoyed watching the expressions of enjoyment and intense concentration in the faces of the performers. Alsop, once again, demonstrated her considerable skill; there were some lyrical moments, not something often associated with this piece which served to intensify the animalistic force of the pagan ritual. Overall, an exceptional performance.


Carla Rees